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Full text of "Overtones 1933-1934"



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FOREWORD 

Due to the continuing need of conservation of 
funds, the publication of OVERTONES has not been 
resumed. As in the previous year, one issue has 
been compiled, in typewritten form, consisting of 
four official copies. 

This is Official Copy Number Two. 



VOL. V — No. 1 May 1954 



OVERTONES 
Elsie Hutt, Editor 



IN MEJAORIM 



CYRUS HERP.IANN KOTZSCHMAR CURTIS 
18 J\me 1850 — 7 June 1935 



The Summer of 1933 



Events of the summer, being entirely extra- 
curricular, must be segregated from those of the 
school term proper and collected under one heading, 
into whatever groupings the latter may fall. It is 
a coincidence that the first summer event we have 
to record here is a parallel to the first recorded 
one of the summer of 1932. 

On Commencement Day 1933, the date being the 
21st of June, the University of Pennsylvania con- 
ferred upon the Director of The Curtis Institute 
the Honorary Degree of Doctor of Music. One year 
earlier our President received the Degree of Doctor 
of Humane Letters from the University. 

-)^ ^ -Jt -«• ■«• 

Winding up teaching, lessons and business, faculty, 
students and staff turned to other affairs. Vacation. 

New England. The Pacific coast. Europe 

Home. 

As usual, many of our numbers went to Maine. 
Among the Rockport-Camden colony were Mrs. Bok, Dr. 
and Mrs. Hofmann, Mr. and Mrs. Reiner, the Salmonds, 
Madame Luboshutz and her son, Madame Vengerova, Mr. 
and Mrs. Salzedo, Miss Halbwachs, Mr. Harms, and 
various students. Dr. and Mrs. Bailly went again to 
Hancock Point, and the Curtis String Quartet to 
Sorrento. 

Mr. Kaufman and Mr. Zimbalist prefer Connecticut, 
altho the latter did not conclude a concert tour 
until July. 



OVERTONES 



Mr. Saperton spent the summer in Caaifornia, 
near his father-in-law, Leopold Godowsky, and Mr, 
Chasins also sojourned in that state. 

Mr. de Gogorza and Ur, von Wymetal, as always, 
returned to Europe for the summer months, their 
homes being in Paris and Vienna. 



The Curtis Memorial Concerts 

Maine, as we all know, figured largely in the 
life of Cyrus Curtis. It was in Maine — Portland 
— that he was born and spent his early years. It 
was to Maine — Camden — that he returned, much 
later, to make liis summer home. 

The Camden community for many years felt Mr. 
Curtis to be an integral part of itself. He was 
one of its most venerated citizens, and the part 
that he played in comiminity affairs was large. 

How fitting, therefore, it was that four members 
of the Curtis Institute faculty should give, in 
Camden, a series of concerts in memory of Mr. Cur- 
tis I 

The concerts were given in the Camden Opera 
House on the evenings of August 8th, 18th and 
28th. For the first one, Madame Luboshutz, Mr. 
Salmond and Mr. Goldovsky played the Allegro con 
brio . Adagio , and Tema ( con Variazioni ) of Beetho- 
ven* s great Trio Number 4 in B flat major. Opus 
11; Madame Luboshutz and Mr. Salmond, the Handel- 
Halvorsen-Press "Passacaglia" ; and Madame Venger- 
ova, Madame Luboshutz and Mr. Salmond the Tschai- 
kowsky Trio in A minor, Opus 50 — ("in memory 
of a great artist")* The Mendelssohn-Bartholody 
Trio in C minor and the Brahms Trio in B major. 



OVERTONES 



Opus 8, were played in the second concert, by Mad- 
ame Vengerova, Madame Luboshutz and Mr. Salmond, 
with a group of solos by Madame Luboshutz inter- 
vening. Mr. Goldovsky was the accompanist. Mad- 
ame Luboshutz, Mr. Goldovsky and Mr. Salmond played 
the Beethoven Trio in D major (Geister), Opus 70, 
Number 1, and the Brahms Trio in C minor, Opus 101, 
in the final concert, and Mr. Salmond, with Mr. Gol- 
dovsky at the piano, a group of solos. 

These Curtis Memorial Concerts, as was to be 
expected, aroused great interest, and large crowds 
attended every one. The proceeds were given over 
to the Camden Community Hospital, the District 
Nursing Association and the Camden Relief Associa- 
tion. 

Another Camden Event 

On Friday evening, September 8th, the Lions* 
Third Annual Charity Concert, organized by Mr. 
Salzedo, was given in the Camden Opera House, by 
William Harms, pianist, Ethel Stark and Celia 
Gomberg, violinists (graduate and student under 
Madame Luboshutz), Maryjane Mayhew, harpist (Mr. 
Salzedo*s pupil), James Bloom, violist for the 
occasion (he being a pupil of Madame Luboshutz in 
violin), and Victor Gottlieb, * cellist and student 
under Mr. Salmond. The Mozart Trio in E major, 
for piano, violin and 'cello, and Deux Danses of 
Debussy — Danse Sacree and Danse Profane — for 
harp with string quartet accompaniment featured 
this concert. Miss Mayhevf, Mr. Gottlieb, Miss 
Stark and Mr. Harms played solo groups. The 
accompanist was the mother of Samuel Mayes, Curtis 
student. 

-«• rr -^ ■«■ -)h 
Vife have other summer activities to record. 



OVERTONES 



Breaking away from the delightful Camden, Mr. 
Reiner made a trip across the continent to conduct 
the San Francisco Symphony Orchestra in the fourth 
concert of the summer series. This, we believe, 
was Iv!r. Reiner's first professional appearance in 
the western city. 

-o- 

Mr. Salzedo, a member of the Barrere-Salzedo- 
Britt Trio (flute, harp and * cello), appeared with 
his Trio in Woodstock, New York, early in the sum- 
mer. 

-o- 

Mr. Zimbalist*s spring tour of Central America, 
the West Indies and the northern part of South Am- 
erica, during which he visited twelve countries 
and gave twenty-five recitals, extended into the 
first part of the summer and, as already stated, he 
did not begin his vacation in New Hartford until 
July. 

Mr. Zimbalist travels by airplane and frequent- 
ly makes long tours, covering a great many miles 
in- a short time. His accompanist, Mr. Kaufman's 
former pupil, Theodore Saidenberg, has become in 
a few years a much- travelled young man. 

-o- 

Mr. Kaufman played George Gershwin's Concerto 
in F with the Philadelphia Orchestra in Robin 
Hood Dell, conducted by Alexander Smallens, on 
July 8th, and the same Concerto with the New York 
Symphony under Nikolai Sokoloff in Weston, Connec- 
ticut, later in the summer. 



OVERTONES 



Good naturedly interrupting his vacation, WIr. 
Saperton played a recital consisting entirely of 
works of Mr. Godowsky, for the latter »3 master 
piano class in Los Angeles, on July 50th. 

The Curtis String Quartet 

The Curtis String Quartet, consisting of Jascha 
Brodsky, Benjamin Sharlip, Max Aronoff , and Orlan- 
do Cole, ensemble trained by Dr. Bailly, appeared 
nine times from July 30th thru September 10th, in 
Northeast Harbor, Hancock Point, Bar Harbor, and 
Camden. 

In Robin Hood Dell 

The Robin Hood Dell concerts of the Philadel- 
phia Orchestra, as in the summer before, provided 
professional activity for numerous Curtis folk. 
This summer an opera series was given, offering 
additional opportunity. 

T/e shall speak of the symphony and the opera 
series separately. 

Mr. Kaufman's appearance in the Dell has al- 
ready been mentioned. 

On August 4th and 5th, Mr. Caston conducted 
half of the program. 

Rose Bampton, our graduate in the Metropolitan 
Opera Company, was soloist on August 9th, sing- 
ing " Che faro sensa Euridice " from Gluck»s " Orfeo 
e Euridice " and " Mon coeur s ' ouvre a ta voix " 
from " Samson et Dalila " (Saint-SaSns) , and three 
encores to the piano accompaniment of Sylvan 
Levin. 

Weather is a factor ever to be considered in 



OVERTONES 



concerts in the open air. On Sunday evening, Au- 
gust 20th, Edna Phillips played Ravel's Introduc- 
tion and Allegro, for harp and small orchestra, 
in the Dell, under considerable difficulties, as 
rain fell during her performance. The concert 
perhaps was ill-fated, since the initial misfor- 
tune was the non-appearance of Mr. Howard Barlow 
whose sudden illness made it impossible for him 
to conduct, lylr. Smallens substituted for the 
scheduled guest conductor. 

The last concert of the season, on August 51st, 
programmed Sam Barber's overture for "The School 
for Scandal " , which composition won this 1932-33 
graduate the Bearns prize for 1933. Mr. Smallens 
was the conductor. 

Several students, past and present, figured in 
the opera performances. In the first, "Aida " , 
given on July 10th and 11th, Vera Resnikoff , who 
had studied with Mesdames Sembrich and Mario, was 
the Priestess, Benjamin Grobani, former student 
under Mr. de Gogorza, also had a small role. 

On July 17th and 18th the opera was " La Trav - 
iata" . Edv/ina Eustis, who came to Philadelphia 
especially for the performances, from Athens, 
Georgia, where ^e was busily engaged in summer 
opera, sang " Flora Bervoise " . We shall have moie 
to say about Miss Eustis. Paceli Diamond was 
" Annina " , Albert Maliler " Gas tone ", and Abrasha 
Robof skj'' " Baron Douphol " , roles which they had 
sung with the Philadelphia Grand Opera Company. 
Alfred de Long and Benjamin Grobani, former stu- 
dents, sang respectively " Marquis d'Obigny " and 
"Dr. Grenvil " . 

Weather enters our story again, " Faust " , given 
on July 24th and 27th, had to be postponed to the 
latter date from the 25th because of a storm. In 
the performances were Abrasha Robofsky as " Wagner " , 



10 



OVERTONES 



one of his roles with the Philadelphia Grand Opera 
Compan/; Irra Petina as "Siebel", and Edv/ina Eus- 
tis as "Marthe" . Miss Petina *s success with the 
" Flower Song" of the third act presaged later 
achievement. 

"Rigoletto", given on July 51st and August 1st, 
had Albert Mahler, Benjamin Grobani, Abrasha Ro- 
bofskj, Edwina Eustis, Paceli Diamond and Agnes 
Davis in the cast. Miss Eustis sang the part of 
"Maddalena", and the famous quartet in the third 
act received an ovation. 

Miss Petina and Miss Eustis appeared in "Cav- 
alleria-Rusticana " , as "Lola" and " Mama Luci a" , 
and Mr . Mahler as " Beppe " in "I Pagliacci" , on 
August 7th and 8th. 

Agnes Davis sang " Inez " in " II Trovatore " > giv- 
en on August 14th and 15th. 

She appeared again, as " Kate Pinker ton " in 
" Madama Butterfly " , the following week, the per- 
formances having had to be postponed three times 
due to a heavy three-day "northeaster" and being 
at last given on August ?Ath and 25th. Albert 
Mahler as " Goro " . Abrasha Robofsky as the "Uncle- 
Priest", and Benjamin Grobani as the " Imperial 
Commissioner " were also in the cast. 

" Carmen " was given on August 28th to another 
caprice of the weather, the performance being 
brought to a close after the second act by rain. 
On the following evening the opera was performed 
under clear skys thru to the end. In "Carmen" 
Irra Petina made her debut in a leading role, 
appearing as the naughty gypsy cigarette girl of 
the title, before audiences of 8,000 and 9,000 
people on the successive occasions. She met with 
remarkable success. As The Evening Bulletin put 



11 



OVERTONES 



it "The young, untamed, fresh-voiced and in- 
tensely human gypsy girl that is Miss Petina»s 
Carmen may be marked down as one of the achieve- 
ments of this summer season of opera". Albert 
Mahler and Abrasha Robof sky appeared as the two 
smugglers and Paceli Diamond as one of the gypsy 
girls. 

Mr. Smallens was the conductor of all of the 
operas . 

-o- 

Students had further opportunity, in Philadel- 
phia, for operatic performance before the begin- 
ning of the school term, in the run of the San 
Carlo Opera Company at the Mastbaum Theatre. Les- 
ter Englander made his debut in opera as the Her- 
ald in " Lohengrin " on September 7th. Margaret 
Codd ao^eared as " Olympia " , the mechanical doll,^ 
in Offenbach's " Tales of Hoffmann " in the matinee 
performance on September 9th. 

Opera at Athens, Georgia 

During this time, opera was being given in 
Athens, Georgia, under the auspices of the Univer- 
sity of Georgia, with Edwina Eustis as stage direc- 
tor, production manager and leading contralto. Two 
performances were given, on July 12th and 14th, 
" Martha " and " Faust" . 

The cast of the former included Helen Jepson 
as " Lady Harriet Durham" , Albert Mahler as " Lionel " , 
Miss Eustis as " Nancy " and Leonard Treasch as "Plun- 
kett". In the latter. Miss Jepson sang "Marfflier- 
Ue" and I^. Maliler "Faust", fir. Treash "Mephis- 
topheles " and Miss Eustis "Martha". 

Miss Eustis evidently did a very good piece 
of work. One local paper commented as follows: 

12 



OVERTONES 



"Edwina Eustis cannot be given too much 

praise for her untiring and sincere work. Her 
ability, executive gifts and enthusiasm inspired 
every member of the company to hearty co-operation, 
which resulted in two admirable performances." 

In California 

Out in California, Martin Black, violinist, 
played the second and third movements of the Bruch 
Concerto in G minor with Mr. Gabrilowitsch and the 
Los Angeles Philharmonic Orchestra in the Hollywood 
Bowl "Symphonies irnder the Stars", on August 20th. 
Helen Gilbert, 'cellist, also had an appearance with 
this orchestra. 



* 



13 



Miscellaneous Notes 
Some Changes 



Further changes, due to the times, were effected 
at the opening of the school in October 1933. Like 
so many other organizations, the Institute has had 
to contract and fortify, in order to withstand the 
economic siege. 

It is not necessary to go into the details of 
these operations here. But we may say that the 
major studies of Composition, Organ, Campanology, 
and the Orchestra Instruments have been temporarily 
discontinued. Thruout the year only the main build- 
ing has been open, the violin, 'cello, harp, theory 
and other studios, and the office of the Student 
Counselor, having been transferred to it, and the 
Radio-Vic trola rooms remaining closed. 

The Christmas Party 

The annual Christmas party was given on the even- 
ing of December 18, 1935. Gathering in the Common 
Room, where a large tree fostered the holiday spirit, 
the assembling people heard the music of Christmas 
carols. It came drifting over the balcony and dovm 
into the room below. There was quiet. The lights 

of the tree twinkled. The log fire glowed 

Only a moment, and then the student singers joined 
the party below. 

Dancing followed in Casimir Hall until midnight. 



14 



OVERTONES 



Music for the Carillon 

G. Schirmer, Inc., of New York, will publish in 
the autumn Sara Barber's Suite for Carillon, Gian- 
Carlo Menotti's Six Compositions for Carillon , 
Nino Rota's " Campane a Sera", and his " Campane a 
Festa" . The works are being brought out under the 
group title of "The Curtis Institute of Music Car- 
illon Series". 

These are the first compositions of Curtis stu- 
dents to be published. 

The pieces were all composed, in 1950 and 1931, 
at Mountain Lake, Florida, during the time spent 
there by these students in the study of the caril- 
lon with I\!r. Anton Brees, the bell master of the 
Mountain Lake Singing Tower. Mr. Rosario Scalero, 
the students' instructor in Composition, also vis- 
ited the Tower during this time, in the interest of 
carillon music. 

The publication of this music represents the 
first concrete results of an undertaking of The 
Curtis Institute, begun a few years ago, to create 
a more extensive and better literature for the car- 
illon . 

A Journalistic Debut 

One former student has obtained at least a foot- 
hold in the realm of journalism. On Sunday, Novem- 
ber 12, 1933, Caesar Finn, Composition major, 1929- 
1952, began writing a column for The Philadelphia 
Inquirer , which appeared weekly on the music page 
until the end of April 1934. Under the general 
heading " Man and Music", Mr. Finn discussed such 
subjects as " Why Do We Like Music?", " Music in the 
Home " , "The Survival of Opera " , "Decision: Privi - 
lege or Privation? " (being concerned with request 
programs and "favorite pieces"), " Interpretation " , 
"Modern Music" , which was f ollov/ed immediately with 

15 



OVERTONES 



" Some Notes on Jazz " ; " The Physiological Effects 
of Music " , " Style " , " Rhytbn " , " Ori.^inality" , "Tem- 
perament", " Some Abori.^inal American Folk-Lore " ; 
and also \7r0te under such titles as " Beethoven on 
Beethoven " , " Some Data on Scope and Bach " , " Vaughan 
Williams and Folk Song" , " Einstein Plays Second 
Fiddle" , " Arnold Schoenberg and the Dead Dragon" , 
"On Creation and the Antheil-Erskine Opera " , and 
" On C ommunication and Gertrude Stein's Opera " . 

While a student at the Institute, Btr. Finn was 
a member of Mr. Oscar Thompson's class in music 
criticism. 

News of Two Foriiier Members of the Staff 

Miss Emily McGallip, former Student Counselor, 
is now Director of the Cleveland Music School 
Settlement, Cleveland, Ohio. 

Miss Grace Spofford, former Dean, has offices 
in New York where she operates as radio consultant 
and concert manager, giving particular attention 
to young artists. We hear that she has just 
accepted a position as Associate Director of the 
Nev/ York College of Music. 






16 



A Statement by Leopold Stokowski 



"We musicians who live in Philadelphia work un- 
der good conditions, and I often thinK how fortu- 
nate I am to be associated with such favorable cir- 
cumstances . 

"We recently Irnve organized a chorus of women *s 
and men's voices composed entirely of students from 
all the schools and colleges of and near Philadel- 
phia which is remarkable for the freshness of tone 
and the intelligent and enthusiastic attitude of 
the students. 

"We are fortunate in being near The Curtis In- 
stitute which has a fine musical library which it 
has always put at our disposal. Also, fifteen mem- 
bers of the Philadelphia Orchestra were formerly 
students at The Curtis Institute and have been tak- 
en in the Orchestra purely on their merits as musi- 
cians and instrumentalists. 

"Whenever we do large choral works with soloists 
we are happy to be able to have finely trained fresh 
voices from The Curtis Institute who sing some of 
the solo parts. Sylvan Levin, one of the conduc- 
tors in The Curtis Institute , has given us 

most valuable cooperation in preparing solo singers, 
and is the conductor of the Philadelphia Orchestra 
chorus." 

The Public Ledger (Philadelphia) 
January 15, 1954 






17 



Faculty Activities 



Casimir Hall 

The faculty gave three recitals in Casimir Hall 
during the season. The first, by Miss van Eraden, 
on the evening of December 4th, a program of Ital- 
ian, German French and English works, included a 
group of songs published as " Offering to Eros " 
(poems by Elissa Landi) by Mr. Chasins, which were 
sung for the first time in Philadelphia. Mr. Cha- 
sins was at the piano for these. The second was a 
recital by Mr. Salzedo, hEirpist, given on the even- 
ing of February 26th. Mr. Zimbalist gave the third 
on the evening of March 19th. Mr. Kaufman was the 
accompanist for all three recitals. 

Outside the Institute 

Again, the Director has had an exceedingly 
active year. Toward the end of the summer of 1933 
he left for an extensive European concert tour. 
Returning to Pliiladelphia, he went away during 
Christmas week for an appearance with the St. Louis 
Symphony Orchestra. Concerts in Pittsburg, and 
Hampton, Virginia, followed, after which he played 
with the Cincinnati Symphony Orchestra, and went on 
to Milwaukee, Toronto, and Rochester, turning south 
again for a recital in Carnegie Hall, New York. Im- 
mediately he returned to Canada, playing in Montreal, 
Later, Dr. Hofmann was soloist with the Philadel- 
phia Orchestra, January 26th, 27th and 29th, run- 
ning over to New York for a radio concert with the 
symphony orchestra in the ho\ir sponsored by Cadillac 
on the 28th. Then followed a southern tour. After 
numerous appearances in the southern part of the 



18 



OVERTONES 



United States, Dr. Hofmann went to Mexico City, 
where he played several recitals and made a num- 
ber of orchestral appearances. The south was loath 
to give him up, and he was obliged to play several 
times in Texas before returning north. 

-o- 

Mr. Zimbalist is another member of the faculty 
who visited Mexico and who has had a full concert 
schedule. He had an extensive tour in the United 
States, including a recital in Carnegie Hall and 
three appearances with the Philadelphia Orchestra, 
and left in April for a concert tour of Soviet 
Russia, his first appearance in his native land 
for twenty years. 

-o- 

Mr. Salmond appeared with the Beethoven Associa- 
tion in Town Hall, New York, on February 12th, .and 
gave a joint recital with Crete Stuckgold on March 
28th, again in Town Hall. He also had numerous 
radio engagements during the season. 

-o- 

Three members of the faculty — Mme. Luboshutz, 
Mr. Salmond, and Mr. Boris Goldovsky — gave a 
series of three chamber music concerts in the audi- 
torium of the Society for Ethical Culture, Pliiladel- 
phia, on the evenings of December 6th, January 17th, 
and February 14th. 

-o- 

Mr. Salzedo has become a member of the Barrere- 
Salzedo-Britt Trio, flute, harp and 'cello. This 
group has given numerous concerts, appearing in 



19 



OVERTONES 



Toledo; Lowell and New Bedford, Massachusetts; 
Canada; Waterbury, Connecticut; Brooklyn; Washing- 
ton; Daytona Beach, Miami and Jacksonville, Florida; 
Allen town, Pennsylvania; and in Town Hall, New York 
City. At the New School for Social Research in New 
York, on December 11th, Mr. Salzedo played his 
Sonata for Harp and Piano, assisted by Mr. Kaufman. 
And Mr. Salzedo 's Concerto for Harp and Seven Wind 
Instruments was performed in Town Hall on Sunday 
evening, April 15th, under the auspices of the Pan- 
American Association of Composers, founded by 
Edgar Varese, with Mr. Salzedo playing the harp 
part. 



-o- 



Mr. Kaufman played with the Musical Art Quartet 
in Town Hall on March 20th. 



-o- 



Mr. Reiner conducted three concerts of the 
Rochester Philharmonic Orchestra during the winter. 
On Sunday evening, November 12th, he was one of the 
conductors of an orchestra of 400 pieces which 
broadcast an hour's concert from Radio City, and on 
January 14th r»IIr. Reiner was the conductor for the 
Cadillac radio hour, with Tito Schipa as soloist. 
In February and March Mr. Reiner conducted a series 
of concerts in Naples, Rome, Florence, Turin and 
Venice. He will be one of the conductors of the 
Philadelphia Orchestra opera season next winter. 



-o- 



The indefatigable Sylvan Levin, who is doubly 
identified with The Curtis Institute since he is a 
graduate besides being a member of the faculty, 
had an extremely busy season. During the summer of 
1933 he formed the York Symphony Orchestra, of York, 



80 



OVERTONES 



Pennsylvania, which he proceeded to conduct during 
the winter thi-u a most successful first season. 
Two of his soloists were Agnes Davis and Benjamin 
de Loache, and Mr. Levin himself played the Saint- 
Saens Concerto Number 2 in G minor with his orches- . 
tra in the final concert of the season on the even- 
ing of April 24th. 

Mr. Levin trains the Philadelphia Orchestra 
Chorus, of which the Bach Society of Delaware Coun- 
ty, the Bryn Mawr College Choir, the Music Educa- 
ticMi Department Chorus of Temple University, the 
Mount St. Joseph College Glee Club, and the Men's 
Glee Club of the University of Pennsylvania are 
units. The Chorus participated in the Philadelphia 
Orchestra concerts of December 22nd and 23d (when 
Vaughan Williams* Fantasy on Christmas Carols was 
given), January 12th, 13th and 15th (in which "Bel- 
shazzar^s Feast " , a dramatic cantata by William 
Walton on the story of the fall of Babylon, was 
performed) , and April 27th and 28th (which featured 
the mighty Beethoven Ninth Symphony ) . I^. Levin *s 
work with the Philadelphia Orchestra has been 
highly praised, and he has become a valued assis- ' 
tant to Mr, Stokowski, not only as Chorus conductor 
but in other capacities. 

During the winter, Mr. Levin, in addition to his 
other activities, organized the Philadelphia Sym- 
phony Studio Orchestra which played in the nightly 
broadcasts of the Chesterfield Company on the occa- 
sions when the Philadelphia Orchestra could not be- 
cause of concerts in the Academy of Music and else- 
where. The Studio Orchestra played thirty-nine 
times during the period from December 2nd thru 
March 24th, and Mr. Stokowski conducted it six 
times, Mr. Levin the remaining thirty-three. Over 
a period of five weeks, Mr. Levin conducted six- 
teen concerts by the Philadelphia Orchestra, in 
this Chesterfield contract, Mr. Stokowski being 



21 



OVERTONES 



away. 

Mr. Levin found time also to appear as soloist 
with the Philadelphia Orchestra in the Academy of 
Music, April 6th and 7th, to accompany Benjamin de 
Loache in recital at The BsLrclay on February 5th, 
and to be soloist in one of the Chesterfield broad- 
casts. His regular work as coach at the Institute 
was not interfered with. 






E2 



student Activities 



Casimir Hall Concerts 

The first concert in the student series was 
the joint graduation recital of Celia Gomberg and 
James Bloom, violinists, who were completing a 
course under lime, Luboshutz. Miss Gomberg, with 
Vladimir Sokoloff at the piano, played three move- 
ments of Lalo's " Symphonie Espagnole " , Jean Antoine 
Desplanes* "Intrada", Tor Aulin's " Impromptu " and 
the Poeme , Opus 25, of Ernest Chausson. l^ir. Bloom, 
assisted by Ralph Berkowitz, played Respighi's 
Sonata in B minor, " Air tendre " - de Mondonville - 
Kaufman, "Tonada Murciana " - Nin-Kochanski, the 
Chasins-Press Preludes in D minor and E minor, and 
Szymanowski*s " Tarantella " , This recital was giv- 
en on Wednesday evening, December 20th. 

Students under Mr. Salzedo played the second 
students' concert, on Thursday evening, March 8th: 
Bessie Goodman, Reinhardt Elster, Maryjane Mayhew, 
Isabel Ibach and Mar jorie Call; and the third, on 
Wednesday evening, March 28th: Ariel Perry, Margret 
Brill, Mar jorie Call, Reva Reatha and Mar jorie Tyre. 
The latter was assisted by her instructor in playing 
his Sonata for harp and piano. 

Oskar Shumsky, Frederick Vogelgesang, Eudice 
Shapiro and Charles Jaffe, students under Mr. Zim- 
balist, gave the next concert on Monday evening, 
April 9th. The accompanist was Vladimir Sokoloff. 

On Monday .evening, April 16th, Jorge Bolet played 
his graduation recital. His program was: Johannes 
Brahms* Variations and Fugue on a Theme of Handel, 
Opus 24; Chopin's Nocturne in E flat major. Opus 55, 



23 



OVERTONES 



Number 2; and the Rondo from Sonata Number 1 in 
C major. Opus 24, of Carl Maria von Weber; Chopin* s 
Sonata in B minor. Opus 58; Rachmaninoff's Preludes 
in E flat major and G sharp minor. Opus 25, Number 
6, and Opus 32, Number 12, respectively; Prokofiev's 
" Suggestion diabolique " , and Leopold Godowsky's 
" Symphonic Metamorphoses on Tnemes from Fledermaus 
Waltzes of Johann Strauss "* Mr. Bolet majored in 
piano under Mr. Saperton. 

Other students under Mr. Saperton played the 
concert given on the evening of April Idth: Eleanor 
Blum, Florence Eraser, Jeanette Weinstein, Richard 
Goodman, and Ezra Rachlin. 

The seventh students' concert was given on Monday 
evening, April 25d, by students under Miss van Em- 
den: Irene Singer, Charlotte Ridley, Charlotte Dan- 
iels, and Irra Petina, Miss Ridley and Miss Daniels 
sang Mendelssohn's duets: " Wasserfahrt " and " Tulerunt 
Dominum meum" besides their groups of solos. Victor 
Gottlieb, student of 'cello under Mr. Salmond, played 
the obbligato of Franz Schubert's " Per Hirt auf dem 
Felsen", which was sung by Miss Singer. Miss Retina's 
numbers included Dargomijsky's " Expectancy " , Rach- 
maninoff's " Floods of Spring " . and the aria - " Divin- 
ation by Water " from " Khovans tchina " (Moussorgsky) . 
Eugene Helmer was the accompanist. 

Mr. Salmond 's students — Howard Mitchell, Victor 
Gottlieb and Ssumiel Mayes — played the eighth con- 
cert, on the evening of April 25th. An unusual 
number played on this occasion was David Popper's 
Requiem for Three Violoncellos, in which the three 
students united. Ralph Berkowitz was at the piano. 

Students in chamber music under Dr. Bailly played 
the ninth concert, on Tuesday evening. May 1st. 
Emil Opava, Virginia Majewski, and Zadel Skolovsky 
gave the first performance in Philadelphia of Maurice 



24 



OVERTONES 



Durufle»s Prelude, Recitatif et Variations for 
flute, viola and piano. Chai^les Jaffe and Jajies 
Bloom, violins, Aivin Dinkin and Leonard Mogill, 
violas, and Victor Gottlieb and Harry Gorodetzer, 
violoncellos, played Arnold Schonberg's " Verklarte 
Nacht" sextet which they had given in the Philadel- 
phia Museum on April Z2nd, Preceding this number, 
Mrs. Ballly read the beautiful translation which 
she had made of the poem "Verklarte Nacht" by Rich- 
ard Dehmel. Alexander Tansman*s Triptyque for 
string orchestra, played by fifteen strings, brought 
the concert to a close. Dr. Bailly conducted. 

Mr. de Gogorza's students — Abrasha Robofslcy, 
Carol Deis, Lester Englander, Ruth Carlmrt, Leon- 
ard Treash, Eugene Loewenttial, and Agnes Davis — 
with Vladimir Sokoloff at the piano — gave the 
next concert, on the evening of May 3d. Illness 
prevented the appearance of Albert Mahler and 
Benjamin de Loache. 

The eleventh concert, on Monday evening. May 7th, 
was given by students of viola under Dr. Bailly: 
Alvin Dinkin, Virginia Majewski, Arthur Granick, 
and Leonard Mogill. The accompanist was Ralph 
Berkowitz. 

The Gasimir Quartet, composed of Charles Jaffe, 
James Bloom, Alvin Dinkin and Victor Gottlieb, 
being trained as an ensemble by Dr. Bailly, gave 
the entire concert of Wednesday evening. May 9th. 
The program consisted of Dohnanyi*s String Quartet 
in A major. Opus 53; Strawinsky»s Concertino for 
String Quartet ; and Beethoven's String Quartet in 
F major. Opus 135. 

On May 10th, the younger students of piano 
under lime. Vengerova played — Phyllis Moss, Sol 
Kaplan, and Zadel Skolovsky. 



25 



OVERTONES 



Students of violin under Mme. Luboshutz — Abe 
Burg, Rafael Druian, and Jean Spitzer — accompan- 
ied by Ralph Berkowitz, Vladimir Sokoloff , and Eu- 
gene Helmer, respectively, presented the fourteenth 
concert on the evening of May 14th, 

On Tuesday evening. May 15th, Yvonne Krinsky, 
pianist, gave her graduation recital. Her program 
consisted of Brahms* Variations and Fugue on a Theme 
of Handel", Opus 24; Beethoven's Sonata in E major. 
Opus 109; Chopin's Barcarolle , Opus 60 and Nocturne 
in E minor. Opus 72, Number 1; Debussy's " Doctor 
Gradus ad Parnassum " from " Children's Corner " and 
" Jar dins sous la pluie " ; and Liszt's " Venezia e Napoli " 
Miss Krinsky studied with Mme, Vengerova. 

The sixteenth, and final, concert of the student 
series, on the afternoon of May 16th, was given by 
Florence Fraser, student under I*8r. Saperton. It 
was entitled " Romanticists and their Music", and was 
a program of Mendelssoiin, Chopin, Brahms and Schu- 
mann works which Miss Fraser played with verbal 
remarks under the sub-heads " Leipzig - 1840 — The 
Schumanns and Mendelssohn " ; " ' Chartreuse ' of Vallde- 
mosa - 1858 — Chopin and George Sand "; and " Dussel- 
dorf - 1854 — The Schumanns and Brahms" . 



Museum Concerts 

Sarah Lowrie, in The Evening Ledger of Friday 
November 10, 1933, remarked, in her column, that 
there were two things she hoped a visitor to Phila- 
delphia might not miss — first, the annual series 
of concerts in the Museum at the head of the Park- 
way, and second, the Graphic Sketch Club of Mr. Sam- 
uel Fleisher. 

The Curtis Institute inaugurated its sixth 
season of chamber music concerts in the Philadel- 



26 



OVERTONES 



phia Museum of Art, tiie series of Miss Lowrie»s 
reference, with a concert on Sunday evening, No- 
vember 12, 1933, by the Curtis String Quartet, Ce- 
cille Geschichter and Leonard Mogill. The Quartet 
played the first number — Schubert* s String Quar- 
tet in G major. Opus 161. Following it, Jascha 
Brodsky, violin. Max Aronoff , viola, and Cecille 
Geschichter, piano, played Leclair's Sonata in D 
major for violin, viola and piano. The final 
number of the program was Brahms* String Quintet in 
G major. Opus 111, played by the Quartet and Leonard 
Mogill. 

The next concert was given on the evening of De- 
cember 17th. Beethoven* s Piano Quartet Number 1 in 
E flat major was played as the opening number by 
Ezra Rachlin, piano, Oskar Shumsky, violin, Arthur 
Granick, viola, and Victor Gottlieb, 'cello. A 
group of songs followed, sung by Paceli Diamond, 
mez2io soprano, who made an eleventh hour substitu- 
tion for Irra Petina. (Miss Petina, the originally 
scheduled vocalist, was unable to appear because 
of just having been engaged by the Metropolitan 
Opera Company of Ne?/ York and being asked to pre- 
pare for early performances with that company.) 
Eugene Helmer was at the piano for Miss Diamond's 
first two songs: Tschaikowsky's " Whether Day Dawns," 
and Moussorgsky»s " Hopak" . For the next ~ Franck's 
Panis Angelicus — Miss Diamond was assisted by 
Marian Head, solo violin. Art liar Graniek and Virgin- 
ia Majewski, violas, and Rowland Cresswell and 
Joseph Druian, »celli. The next ~ Lekeu»s Nocturne 
— was sung to piano and string quartet accompani- 
ment, Mr. Helmer at the piano and the quartet being 
the Elbee Quartet. Netschajew*s "No tears, no late 
complaints " and "In the morning I kneel before my; 
flowers", the last of the group. Miss Diamond sang 
with the Quartet. Dvorak »s Piano Quintet in A 
major. Opus 81, played by Yvonne Krinsky, piano, 
Oskar Shumsky and Marian Head, violins, iirthur 
Granick, viola, and Howard Mitchell, * cello, con- 



27 



OVERTONES 



eluded the program. 

The Casimir Quartet, consisting of Charles 
Jaffe and James Bloom, violins, Alvin Dinkin, 
viola, and Victor Gottlieb, * cello, featured the 
concert of February 4, 1954. Grieg's String Quar- 
tet in G minor, Opfus 27, was the opening number. 
Following it, Charles Jaffe and Vladimir Sokoloff 
played Franck' 3 Sonata in A major for violin and 
piano. For the last number — Beethoven's String 
Quintet in C minor. Opus 104 — the Quartet was 
assisted by Virginia Majewski, viola. 

Works in larger form were given on March 11th, 
the concert being conducted by Dr. Bailly. The 
first was the Sextet in C major for strings. Opus 
11, of Reinhold Gliere, played by Lily Matison and 
Marian Head, violins, Virginia Majewski and Arthur 
Granick, violas, and Victor Gottlieb and Rowland 
CressY/ell, violoncelli. Johan Svendsen's Octet in 
A major for strings. Opus 5, followed, played by 
Eudice Shapiro, Janes Bloom, Abe Burg and Marian 
Head, violins, Leonard Mogill and Simon Asin, 
violas, and Rowland Cresswell and Harry Gorodetzer, 
*celli. Great interest was sho'wn in the Triptyque 
of Alexandre Tansman, played by the following 
strings: Osiiar Shumsky, Eudice Shapiro, Abe Burg, 
Marian Head, Lily Matison, Charles Jaffe, James 
Bloom, Leon Zawisza, and David Frisian, violins; 
Leonard Mogi3J., Alvin Dinkin, Arthur Granick, and 
Simon Asin, violas; and Rowland Cress?/ell, Harry 
Gorodetzer, Samuel Mayes, and Joseph Druian, vio- 
loncelli . 

The final concert in the series, featured by 
Arnold Schonberg*s " Verklarte Nacht" sextet, was dis- 
tinguished by the presence of that composer. The 
program opened with Bach's Concerto Number 3 in D 
minor, for two violins with string accompaniment. 
Lily Matison and Abe Bxirg were the solo violins, and 
they were assisted by Leon Zawisza and David Fri- 



28 



OVERTONES 



sina, violins, Walter Riediger, viola, and Samuel 
Mayes and Rowland Cresswell, »celli. The next — 
Ravel's Introduction and Allegro for harp, flute, 
clarinet and string quartet — was played by Reva 
Reatha, Emily Opava and Leon Lester, soloists, and 
Lily Matison^and Leon Zawisza, violins, Virginia 
Majewski, viola, and Harry Gorodetzier, » cello. 
The " Verklarte Nacht " string sextet was performed 
by Charles Jaffe and James Bloom, violins, Alvin 
Dinkin and Leonard Mogill, violas, and Victor 
Gottlieb and Harry Gorodetzer, 'celli. Dr. Bailly 
conducted the concert. The printed program gave 
an exceedingly fine translation of the poem "Ver- 
klarte Nacht" (Richard Dehmel) , by Mrs. Louis 
Bailly. 

Dr. Louis Bailly is in charge of these Museum 
concerts. 



The Curtis Symphony Orchestra 

While the Curtis Symphony Orchestra did not 
this year, give any important public concert, due 
to the limitations of our budget, it nevertheless 
appeared twice as a sjTnphony. 

In the concert of the Philadelphia Forum series, 
given on the evening of January 51, 1934, the 
Orchestra, conducted by Mr. Reiner, played the 
Weiner Suite of Hungarian Folk-Dances (Opus 18) , 
and the Overture to Rossini's "II Sign or Brus ch- 
in o" . The rest of the program was given by the 
Mendelssohn Club and the Girard College Junior 
Choir. 

On Friday evening. May 4th, the Orchestra gave 
a concert in the Philadelphia Museum of Art as 
part of the National Convention of the Young Y/oraen's 
Christian Association. Sylvan Levin was the con- 
ductor. Margaret Codd, soprano, Shura Cherkassky, 



29 



OVERTONES 



pianist, and Philip Frank, violinist, the latter a 
graduate of 1932-33, were the soloists. The or- 
chestral numbers were the Overture to "La Princess 
Jaune " (Saint-SaSns) , the Bridal Cortege from Rimsky- 
Korsakoff's "Le Coq-d'or ", and the " Rakocay March" 
from Berlioz » " The Damnatio n of Faust " . Miss Codd 
sang the aria " Je suis Titania " from the opera 
" Mignon " (Thomas). Mr. Cherkassky chose the first 
movement of the Tschaikovsky Concerto in B flat 
minor; Mr. Frank, the second and third movements of 
Saint-Saens* Third Concerto in B minor. 

The Orchestra played in the performance of von 
Flotow's "Martha", given in Longwood Gardens Open- 
Air Theatre, at Kennett Square, on the evening of 
May 23d, in which Charlotte Daniels sang the role 
of ' Mancy " » Daniel Healy (graduate) the role of 
" Lionel " , and Leonard Treash the role of " Plunkett " 



The Concert Course 

There were twenty-six concerts. The first was 
given October 7th at VVesttown School, Westtown, 
Pennsylvania, by Agnes Davis, soprano, Victor Gott- 
lieb, 'cellist, Ezra Rachlin, pianist, and Sarah 
Lewis, accompanist. On October 20th, Ruth Car hart, 
contralto, Jascha Brodsky, violinist, and Maryjane 
Mayhew, harpist, assisted by Vladimir Sokoloff , ac- 
companist, appeared at the Woman* s Club of York, 
York, Pennsylvania. On the 22nd, Marion Head, vio- 
linist, Charlotte Daniels, soprano, and Joseph Le- 
vine, solo pianist, played at Peddle School, Hights- 
town. New Jersey. Sarah Lewis was the accompanist. 
The Casirair Quartet gave a concert on the 31st at 
the Woman's Club of Swart hmore, Sv/arthmore, Pennsyl- 
vania, in which Mr. Gottlieb and Mr. Jaffe also 
played solo groups, accompanied by Eugene Helmer. 

The Cherokee Trio — Sol Kaplan, piano, Samuel 



30 



OVMTONES 



Mayes, 'cello, and Frederick Vogelgesang, violin, 
played at the Woman's Club of Conshohocken, Consho- 
hocken, Pennsylvania, on November 7th. Sara Lewis 
was the accompanist for solo numbers. On November 
9th, Leonard Treash, baritone, Celia Gomberg, vio- 
linist, and Martha Halbwachs, pianist, gave a con- 
cert at the Jenkintown Vi^oman's club, Jenkinto?n:i, 
Pennsylvania, with Miss Halbwachs acting as accom- 
panist as well as soloist. On the same day, Irene 
Singer, soprano, Yvonne Krinslcjr, solo pianist, and 
Jean Spitzer, violinist, with Bernard Frank as ac- 
companist, appeared at Ursinus Co3J.ege, in College- 
ville, Pennsylvania. Irra Petina, soprano, and 
Charles Jaffe, violinist, gave a concert at Western 
Mar^/'land College, Westminster, Maryland, on the 
10th, with Vladimir Sokoloff as their- accompanist. 
Inez Gorman, soprano, Victor Gottlieb, 'cellist, 
and Charles Jaffe, violinist, appeared at the Uni- 
versity of Delaware, Nev/ark, Delaware, on November 
E3d. Ralph Berkowitz was accompanist. The Mary 
Gaston Barnwell Foundation, established for the 
benefit of students and graduates of the Philadel- 
phia Central High School, which books an annual 
course of addresses and includes musical evenings 
in the schedule of events, engaged Eudice Shapiro, 
violinist, Leonard Treash, baritone, and Irene 
Singer, soprano, for a musical program in the 
ball room of the Penn Athletic Club on the evening 
of November 22nd. Dr. John Erskine, President of 
the Juilliard School of Music, made the address. 
The accompanist for the students was Bernard Frank. 

On December 5d, Ezra Rachlin, pianist, James 
Bloom, violins t, and Irene Beamer, contralto, 
appeared at Sleighton Farm, Darlington, Pennsyl- 
vania, with Bernard Frank at the piano for the 
violin and vocal solos. The Woman's Club of Wood- 
bury, Woodbury, New Jersey, scheduled Lester Eng- 
lander, baritone, and Selma Amansky, soprano, for 
a concert on December 4th, in which Sarah Lev/is 
was the accompanist. Paceli Diamond, mezzo sopra- 
no, Jean Spitzer, violinist, and Abrasha Robofskj'', 



31 



OVERTONES 



baritone, with Sarah Lewis at the piano, gave a 
concert for " The Neighbors '^ of Hatboro, Pennsyl- 
vania, on December 13th. 

The University of Delaware engaged Margaret Codd, 
soprano, Jean Spitzer, violinist, William Harms, 
solo pianist, and Sarah Lewis, accompanist, for a 
program on January 11th. On the 15th, Irene Singer, 
soprano, Eudice Shapiro, violinist, Joseph Levine, 
solo pianist, and Eugene Helraer, accompanist, ap- 
peared at Westtown School, Westtown, Pennsylvania. 
The Porch Club, of River ton, Nevv Jersey, booked 
Miss Singer and James Bloom, violinist, for the 16th. 
Eugene Helmer was the accompanist. Lester Englander, 
baritone, Marian Head, violinist, and Charlotte 
Daniels, soprano, accompanied by Eugene Helmer, 
gave a concert at George School, George School, Penn- 
sylvania, on the 20th. Marian Head, Mr. Helmer, and 
Rowland Cresswell, 'cellist, appeared at the Woman's 
Club of Bryn Mawr, Bryn Mawr, Pennsylvania, on the 
22nd, and Eugene Loewenthal, bass, Celia Gomberg, 
violinist, and Ralph Berkowitz, accompanist, at the 
Woman's Club of Narberth, Narberth, Pennsylvania, on 
the 23d. The Casimir Quartet played at the Colony 
Club of Ambler, Ambler, Pennsylvania, on the 24th. 
Lester Englander, baritone, Marie Budde, soprano, and 
Abe Burg, violinist, accompanied by Vladimir Sokoloff , 
appeared at the New Jersey State Museum, Trenton, 
on the 28th. 

On February 9th, the Casimir Quartet gave a 
concert at Hood College, Frederick, Maryland, and 
on the 14th appeared at the Germantown Friends' 
School, Philadelphia. 

The University of Delaware booked a third con- 
cert by Curtis students on March 1st, with Charlotte 
Daniels, soprano, accompanied by Ralph Berkowitz, 
and the Cherokee Trio giving the program. On the 
7th, Eudice Shapiro, violinist, and Charlotte Ridley, 
soprano, with Mr. Berkowitz, at the piano, appeared 
at Blair Acaden^, Blair s town. New Jersey. The final 



S2 



OVEP,TONES 



concert in the Course was given on March 13th at 
Unionville Consolidated School, Unionville, Penn- 
sylvania, by William McCormick, clarinet, Harold 
Goaberg, oboe, Andrew Luck, bassoon, Herman Wat- 
kins, French horn, Ardelle Hookins, flute, and 
Sarah Lewis, pianist. 

Besides this service, knoivn as " The Concert 
Course", several additional programs were arranged 
by the Institute. 

The Graphic Sketch Club 

Three concerts were given at the Graphic Sketch 
Club, Phila.delphia . The first occurred on Sunday 
afternoon, November 19 th, and was a concert by the 
Casimir Quartet. On January 14th, a concert of 
chamber music under the direction of Dr. Bailly 
was given, in which Beethoven's Piano Quartet Num- 
ber 1 was played by Ezra Rachlin, piano, Oskar 
Shumsky, violin, Arthur Granick, viola, and Victor 
Gottlieb, 'cello, and Dvorak's Piano Quintet in A 
was played by Oskar Shumsky and Marian Head, Arthur 
Granick, and Victor Gottlieb, with Yvonne Krinsky 
at the piano. Paceli Diamond also sang a group of 
songs, accompanied by Eugene Helmer, piano, Marian 
Head, violin, and the Elbee Quartet. The third 
concert in this series was given on February 18th, 
by Joseph Levine, solo pianist, Marian Head, violin- 
ist, Harry Gorodetzer, 'cellist, and Ellanore Smith, 
soprano, with Sarah Lewis as accompanist for the 
violin, 'cello and vocal numbers. 

Opera Scenes 

An innovation was the presentation of opera 
scenes, in costume, and with scenery, by students 
under Mr. von Wymetal, in two programs given at 



35 



OVERTONES 



the New Century Club, West Chester, and the German- 
town Friends* School, Philadelphia, on Friday even- 
ing, Februarj'- 23d, and Wednesday afternoon. May 9th, 
respectively. In the first, Enao Aita, as " Faust " , 
Leonard Treash, as " Mephisto ", Agnes Davis, as " Mar- 
guerite " , Charlotte Daniels, "Siebel", and Ruth Car- 
hart, the "Martha", gave the garden scene from 
" Faust " (Gounod); and I^ir. Aita, as " Count Almaviva ", 
Margaret Codd, singing "Rosina", Abrasha Robofsky, 
"Bartolo", Eugene Loewenthal, as " Basilio " , Lester 
Engiander, "Figaro", and Miss Carhart, "Berta", 
did scene II of the first act of Rossini's " Barber 
of Seville" . The scenes were given to piano accom- 
paniment by Boris Goldovsky, who also acted as con- 
ductor. Act I of " Hansel und Gretel " (Humperdinck) 
was given for the second program with the following 
cast: Lester Engiander - " Peter "; Irene Beamer - 
"Gertrude"; Charlotte Daniels - " Hansel " ; Marie 
Budde - " Gretel " . Sylvan Levin conducted at the 
piano . 



The Radio Series 

The Curtis Institute Radio Series, broadcast 
Thursday afternoons from 5:45 to 4:50 o'clock, was 
beautifully opened with a tribute to Mr. Curtis 
from Mr. Reiner. The program was a concert by the 
Curtis Symphony Orchestra. Mr. Reiner said: 

"There have been a fev/ great-hearted 
friends of musicians in American history, 
friends who felt the desire, the urge, to 
extend a hand to the gifted beginner, help- 
ing him to learn his profession among har- 
monious surroundings, and assisting him to 
try his wings under the most favorable 
conditions . 

"Cyrus H. K. Ciirtis was one of the most 
generous members of this group of philan- 
thropists, and his passing has left a 
sense of irreplaceable loss. 



54 



OVERTONES 



"Here, in The Curtis Institute, which 
was founded in his name — in this, our 
first radio concert of the season — we 
want to pay a special tribute to his mem- 
ory, and at the same time convey, in some 
measure, thru the medium of our music, the 
feeling that he will be always with us — 
as long as a bow is drawn across the strings 
of an instrument, the keys are pressed on 
the keyboard of a piano or orgai"i, or a 
student's voice is raised in song." 

The Orchestra then played Mendelssohn's Overture 

— "Calm Sea and Prosperous Voyage", Wagner's Sieg- 
fried Idyll, and Bach's Brandenburg Concerto Number 
5, in G major. — Tliis concert was given on October 
26th. Mr. Reiner conducted. 

The following week, on November 2nd, Eudice Sha- 
piro, violinist, played a group of solos by Schu- 
mann-^reisler, Brahms, Moussorgsky, Glinka-Zimbal- 
ist, Burleigh, and Dvorak; William Hgirms, pianist, 
a Gluck-Brahms , Prokofiev, Nikolaus Medtner and 
Moszkowski group; and Ruth Carhart, contralto, sang 
songs by Lalo, Faure, Strauss, Ravel, Carrie Jacobs- 
Bond, and Richard Maiaby, and a Catalan Folk-Song 

— " La ploma de perdiu " . The Strauss song was 
Richard Strauss' " Morgen " ; it, and Ravel's " L'enigme 
eternelle " , were sung to harp accompaniment by 
Mary jane Mayhev/. For the rest, both Miss Carhart 
and Miss Shapiro were accompanied by Vladimir Soko- 
loff at the piano. 

James Bloom, violinist, Irra Petina, mezzo-so- 
prano, and Victor Gottlieb, 'cellist, gave the con- 
cert of November 9th. Mr. Bloom played works by 
Paradis-Dusiikin, Albert Spalding, and Albeniz- 
Heifetz. Miss Petina sang songs of Wintter Watts 
and Alexander Dargoraijsky, and the aria - "Mon 
coeur s'ouvre h ta voix " - from " Samson et Dalila " 
(Saint-Saens) . Mr. Gottlieb chose works by Granados- 



35 



OVERTONES 



Cassado, Ravel, and Popper. The accompanist for 
all three soloists was Ralph Berkowitz. 

The Curtis Symphony Orchestra, with Charles 
Jaffe and James Bloom, violinists, and Mary jane 
Mayhew, harpist, played the concert of November 16th. 
The first number was Bach's Concerto Number 3, in 
D minor, for two violins; the second, Debussy's 
Two Dances ( Sacred and Profane ) for harp and strings; 
and the final, Tschaikowsky*s Serenade for string 
orchestra, in C major. Opus 48, The Orchestra was 
conducted by Mr. Reiner. 

The November 25d concert was a program of chamber 
music under the direction of Dr. Bailly. Jascha 
Brodsky, Max Aronoff , and Cecille Geschichter first 
played the Sonata in D major, for violin, viola and 
piano, by Leclair. Followed two songs of Netscha- 
jew - "No tears , no late complaints " and "In the 
morning I^ kneel before my flowers " - sung in Russian 
by Irra Petina to an accompaniment by the Elbee 
Quartet (Lily Matison and Marian Head, violins, 
Virginia Majewski, viola, and Victor Gottlieb, 
♦cello). The Curtis Quartet then played Schumann's 
String Quartet in A major. Opus 41, Number 5. 

On December 7th, Marian Head, violinist, played 
solos by Scott-Kreisler, Boccherini-Kreisler, Faure, 
and de Falla-Kreislerj Benjamin de Loache, baritone, 
sang songs by Handel, Schubert and Jacques Wolfe, 
also two old "Welsh airs; and Martha Halbwachs, pian- 
ist, played a group by Brahms, Chopin, Leschetizky, 
and Rachmaninoff. Eugene Helmer was the accompan- 
ist for Miss Head and Itr. de Loache. 

The Curtis Symphony Orchestra, conducted by Mr. 
Reiner, played the concert of December 14th, con- 
sisting of the following program: Liadow's Eight 
Russian Folk-Songs . Opus 58; the first movement 
of Rubinstein's Piano Concerto in D minor, with 



56 



OVERTONES 



William Harms as soloists; Pralud ium by Jarnefelt; 
Berlioz* " Dance of the Sylphs " ; " Flirtation in a 
Chinese Garden " by Abram C has ins; and the Overture 
to Rossini's " II Si.gior Bruschino " . 

Sacred songs featured the program given on De- 
cember 21st. Among them were " He Shall Feed His 
Flock " and " Re.joice Greatly , Daughter of Zion " , 
arias from Handel's "The Messiah " , sung by Irene 
Beamer and Irene Singer respectively; "0 Holy 
Night", by Adolphe Adam, sung by Miss Singer; and 
Pietro Yon' 3 duet " Gesu Bambino", sung by Miss Sing- 
er and Miss Beamer. Sarah Lewis was the accompan- 
ist. Zadel Skolovsky also played in the program 

— Bach's Fantasy and Fuge in A minor, and Chopin's 
Ballade in A flat major. Opus 47. 

The concerts were resumed after the Christmas 
holidays, the first being given on January 4th. 
The program was chamber music, given under Dr. 
Bailly's direction: Beethoven's String Quintet 
in C minor, Opus 104 — played by Charles Jaffe 
and James Bloom, violins, Alvin Dinkin and Virgin- 
ia Majev/ski, violas, and Victor Gottlieb, 'cello 

— and the Piano Quartet Number 1 in E flat major, 
also by Beethoven — played by Ezra Rachlin, piano, 
Oskar Shurasl?y, violin, Arthur Granick, viola, and 
Victor Gottlieb, 'cello. 

On January 11th, Agnes Davis sang the " Liebes- 
tod"f rom Wagner ' s " Tristan und Isolde " , follow- 
ing with songs by Richard Strauss, Gladys Rich, 
and Richard Kountz. Charles Jaffe, violinist, 
played solos by Handel, Boccherini-Kreisler, Tor 
Aulin, Popper-Auer, and Mendelssohn-Xreisler; and 
Lester Englander sang a group which included the 
famous Toreador Song from " Carmen " . Ralph Berko- 
witz accompanied all three at the piano. 

Eugene Loewenthal, bass, sang two groups of 

37 



OVERTONES 



songs which included works of Francesco Durante 
and Brahms, and the aria "Le tambour ma.ior " from 
Ambroise Tiiomas* 'Le Caid", in the concert given 
on January 18th. Samuel Mayes, * cellist, played 
Bach and Paradis-Dushkin numbers, aind two move- 
ments from the Sonata in G minor of Henry Eccles. 
Florence Fraser, pianist, played compositions of 
Chopin, Ravel, and Schubert-Liszt, as well as a 
fifteenth century lute dance, transcribed by Ot- 
torino Respighi. For the vocal and 'cello solos 
Sarah Lewis was at the piano. 

A very interesting work, which Mr. Stokowski 
later performed with the Philadelphia Orchestra — 
Bach's Concerto in A minor, for four pianos and 
orchestra — marked the concert given on January 
25th, by the Curtis Symphony Orciiestra, conducted 
by Mr. Reiner. The pianists were Martha Halbwachs, 
Cecilie Geschichter, Yvonne Krinsky, and Eleanor 
Blum. Ezra Rachlin, pianist, was soloist in the 
Adagio and Fugue from the Organ Toccata in C major 
(Bach-Busoni) . The remaining number of the pro- 
gram was "Le carnaval des animaux " (Saint-Saens) . 

Abe Burg, violinist, played a group of Kreisler 
v/orks and Kreisler arrangements, for the first 
part of the concert of February 1st. Leonard 
Treash, baritone, sang songs by Faure, Schumann, 
Moussorgsky, and Handel; and the program v/as con- 
cluded by a piano group played by Joseph Levine — 
works by Glinka-Balakirev, Liszt, and Delibes- 
Dohnanyi. Vladimir Sokoloff accompanied Mr. Burg 
and Mr. Treash at the piano. 

The Curtis Symphony Orchestra gave the concert 
of February 8th, with the following program: Mo- 
zart's Piano Concerto in E flat major, with Martha 
Halbwachs as soloist, and Weiner's Divertimento for 
strings. Opus EO. Mr. Reiner conducted. 



38 



OVERTONES 



On Febr-aaiy 15th, Marie Budde, soprano, opened 
the progrsun with the aria "II est doux , il est 
bon", from Jules Massenet* s "H|rodiade" . She also 
sang Braluns' "Die Mainacht " , and songs in English 
by Ernest Charles, Charles Gilbert Spross, and ?Ars. 
H. H. A. Beach. Enzo Aita, tenor, sang two groups 
— works by Pergolesi, Debussy, Schubert and Rach- 
maninoff, and a Spanish folk-song. Celia Gomberg, 
violinist, also had part in the program, playing 
works by Francoeur-Kreisler, Lalo and Ottokar Nova- 
cek. Eugene Helmer was at the piano for the entire 
concert. 

Marjorie Tyre, harpist, and ^member of the Phil- 
adelphia Orchestra, played Faure»3 Impromptu , Opus 
86, and also "Ma^ Night" (Palmgren-Wightman) and 
her instructor's " Whirlwind " , in the concert of 
March 1st, there being a break in the weekly con- 
tinuity of the broadcasts due to a national holiday 

Washington's birtnday — falling on Thursday. 

Abrasha Robofsky, baritone, sang works of Sir Ar- 
thur Sullivan, Chopin, Schumann and Roger Quilter, 
also a Russian folk-song. Jean Spitzer, violinist, 
played " Nigun" from Ernest Bloch's " Baal Shem" 
Number 2, Variations on a Theme by; Corelli , ar- 
ranged by Tartini-Kreisler, and Jeno Hubay's Hunga- 
rian Poem , Opus 76, Number 2. Sarah Lewis was the 
accompanist. 

Woodwind instruments featured the March 8th 
concert, which was conducted by Mr. Tabuteau. The 
program consisted of Rudolph Novacek's Sinfonietta, 
Opus 48, Charles Lefebvre's Suite, Opus 57, Menuet 
from the Sextet , Opus 72, of Vincent d'Indy, and 
Emile Bernard's Divertissement , Opus 36, played 
by woodwind ensembles of various sizes. Orlando 
Cole, 'cellist, also played solos by Mozart, Handel 
and Popper. The following students made up the 
ensembles: Ardelle Hookins and Harold Bennett, 
flutes; Harold Gomberg and John Minsker, oboes; 



39 



OVERTONES 



Herman Watkins and Benjamin Gertz, French horns; 
Elvin Clearfield, Herbert Hassan and WilliaiH McCor- 
mack, clarinets; Andrev/ Luck and Carl Bowman, bas- 
soons; and the assisting pianists ?/ere Sarah Lewis 
and Ralph Berkowitz. 

On March 15th, there was another program of 
chamber music. Eudice Shapiro, James Bloom, Abe 
Burg and Marian Head, violins, Leonard Mogill and 
Simon Asin, violas, and Rowland Cresswell and Harry 
Gorodetzer, »celli, conducted by Dr. Bailly, played 
Johan Svendsen's Octet in A major. Opus 3, which 
they had played on March 11th in the Museum. Joseph 
Levine, Oskar Shumsky and Harry Gorodetzer also 
played one movement from Mendelssohn's Trio in D 
minor. Opus 49, for piano, violin and * cello. 

The March 2Zn6. concert gave some of the younger 
students a chance to "go on the air". Frederick 
Vogelgesang played the second movement from the 
Concerto Number 4 in D minor. Opus 51, of Henri 
Vieuxtemps. Sol Kaplan played the Etude in E major, 
Number 5, of Paganini-Liszt, and Chopin's Valse 
brilliant , in A flat major. Opus 34, Number 1; af- 
ter which Samuel Mayes played Girolamo Frescobaldi's 
Toccata . The three students, who played together as 
the " Chg-ckee Trio " . played Beethoven's Trio in B 
flat major. Opus 11, as the concluding number of the 
program, Irene Singer having sung just before the 
aria " Blute nur, du liebes Herz", from "The Passion 
of our Lord according to St. Matthew" (Bach) , Brahams' 
" Das Mad Chen sprich t" , the " Japanese Death Song " 
(E. C, Sharp) and La Forge's " To a Messenger " which 
she had sung a few weeks earlier in the White House. 
Eugene Helmer and Vladimir Sokoloff were the accom- 
panists. 

On March 29th, Oskar Shumsky played a group by 
Mendelssohn-Kreisler, Kreutzer-Kaufman, Claude De- 
bussy, and Car tier -Kreisler, and then joined Eudice 



40 



OVERTONES 



Shapiro, Alvin Dinkin and Victor Gottlieb in play- 
ing the second movement from Tschaikowsky*s Quar 
tet in D major, Opus 11; after which Margaret Codd 
sang "II dolce suono " from " Lucia di Lammermoor " 
(Donizetti) with flute obbligato played by Ardelle 
Hookins, " Elfenlied " by Hugo Wolf, "B^ the Fountai n" 
(Harriet Ware) and the "Je suis Titania " aria from 
" Mignon " . Ezra Rachlin brought the concert to a 
close with Brahms* Capriccio in F sharp minor, and 
Intermezzo in A minor, Chopin's Mazurka in C sharp 
minor , and Ravel * s " Alborada del Gracioso" . Mr . 
Shumsky and Miss Codd v/ere accompanied by Vladimir 
Sokoloff. 

Lily Matison, violinist, played the first and 
second movements from the D major Sonata of Handel, 
" Beau Soir" (Debussy) , the Mouvement perpetuel from 
Alexandre Tansman's Cinq Pilces , and " Rigaudon " 
from " Le Tombeau de Couperin " (Ravel-Duslikin) , as 
the first group of the program for the first concert 
after the Easter vacation, given April 12th. Albert 
Mahler, tenor, followed with the "0 Paradiso " aria 
from "L*Africana" (Meyerbeer), an Italian folk-song 
called " Torna a Surriento " , another aria — " Una 
furtiva lagrima " — from " L'Elisir d'Amore " (Doni- 
zetti) , and songs by Luigi Denza and Rachmaninoff. 
Victor Gottlieb, 'cellist, then played Villanelle 
(Pianelli-Salmond) , "The Little Shepherd " from 
the " Children's Corner " of Debussy, Moszkowski's 
" Guitarre " , Faure's " Apres un reve", and " Flight of 
the Bumble Bee " (Rimsky-Karsakov-Strimer) . The ac- 
companist vi'as Ralph Berkowitz. 

On April 19th, Isabel Ibach played two of Mr. 
Salzedo's compositions: " Chanson dans la nuit " and 
" La Desirade", as well as Pierne's Impromptu-Cap- 
rice and Giga by Arcangelo Corelli. Agnes Davis, 
soprano, followed with Richard Strauss' " Ruhe , 
meine Seele", John Alden Carpenter's " The Sleep 
th^t Flits on Baby's Eyes" . Abram Cha.sins» "If I 



41 



OVERTONES 



were the Rain " , Henri Duparc's " Extase " , and " Green " 
by Claude Debussy. Then Wilheliiij*s paraphrase of 
" ?jalther*s Preislied " from Wagner ' 3 " Die Meister - 
sin^er " was played by Eudice Shapiro, violinist, 
and the Impromptu and Berceuse of Tor Aulin, and 
Malaguena of Albeniz-Kreisler. The accompanist was 
Vladimir Sokoloff . 

Jascha Brodslo/-, violinst, played the opening 
group on April 26th, with Faure*s " Apr Is un reve" , 
Kreisler*3 Rondino on a Theme by Beeth oven, the 
Siciliano and Rigaudon of Francoeur-Kreisler, and 
the Spanish Dance of de Falla-Kreisler. A group 
of songs sung by Paceli Diamond followed: Rachman- 
inoff's "The Soldier's Bride " (sung in Russian), 
" Schliesse mir die Augen beide" by Berenice Robin- 
son (former student of the Institute, majoring in 
Composition), " Clavelitos " by Joaquin Va±verde, 
Cyril Scott's " Lullaby " , a song by Lily Strickland, 
and " The Last Rose of Suminer " from von Flotow's 
" Martha " . The concluding group of piano solos was 
given by Yvonne Krinsky: "Doctor Gradus ad Parnassum " 
from " Children's Corner " (Debussy), Chopin's Noc- 
turne in E minor (posthumous) and Liszt's " Venezia 
e Naooli " . fitr. Sokoloff was the accompanist for 
}At. Brodsky and Miss Diamond. 

On May 5d the first of tv/o operatic programs was 
given. With the Curtis Symphony Orchestra, conduc- 
ted by Mr. Reiner, Eugene Loewentlial, as " Doctor 
Pandolfo", Margaret Codd, as " Zerbine ", and Abrasha 
Robofskj?-, as " Scapin " , sang Pergolesi's little 
opera " La Serva Padrona " (in English) . Miss Codd 
filled in the remainder of the forty-five minutes 
with the aria " Mar tern Aller Arten" froiii Mozart's 
" Die Entfuxirung aus dem Serail " . 

The " Verklarte Nacht " sextet of Schonberg was 
played again on Uay 10th, by the same group that 
played it in the Museum and in Casimir Hall. The 
latter part of the program consisted of songs — 



42 



OVERTONES 



" Das Wirtshaus " (Schubert) , "La flute de Pan " (De- 
bussy) and his "II pleure dansmon coeur" , and John 
Alden Carpenter's " On a Screen " and " The Odalisque " 
from "Water Colors " — sung by Ruth Carhart, con- 
tralto, with Sarah Lewis at the piano. 

The second operatic program, and the last of 
the radio series, was given on May 17th. Mr. Rei- 
ner conducted. Excerpts from Act I of Beethoven's 
only opera, "Fidelio", were sung by Margaret Codd, 
who took the part of " Maraelline " . Marie Budde, as 
"Leonore", Fritz Krueger, as " Jaguino " . and Leon- 
ard Treash as " Rocco " . These were sung in German, 
as was the duet from Act II of " The Flying Dutch- 
man" (Wagner), wliich followed, sung by Leonard 
Treash as "The Flying Dutchman" and Agnes Davis as 
"Senta". Orchestral parts were played by the Curtis 
Symphony Orchestra. 

There were twenty-six of these radio concerts. 






45 



Further Student Activities 



Because it happens that, in many instances, both 
students and graduates have participated profession- 
ally in the same events, any attempt to report these 
activities separately, as student and graduate, 
would result in confusion, and we shall allow these 
matters to fall into their natural groupings under 
the most logical headings, irrespective of whether 
the young people involved may still be enrolled at 
the Institute or may have finished their studies 
here. Perhaps, in any case, distinction is foolish, 
for are we not all students? 

The fact that students — and here we do mean 
those who have not finished at our school — have 
been able to participate professionally side by 
side with those of greater artistic maturity is in- 
teresting. 



Members of The Metropolitan Opera Company 

This year we had two "students" appearing with 
the Metropolitan Opera Company of New York — Rose 
Bampton and Irra Petina. The latter, a student 
with Miss van Emden, was engaged by the company in 
December, the third student to be accepted by the 
Metropolitan, This is Miss Bampton *s second sea- 
son. Louise Lerch was the first Curtis student to 
obtain a Metropolitan contract. 

-o- 

Miss Bampton had an active year. With the Met- 
ropolitan she sang such roles as " Brangane " in 
" Tristan und Isolde " , " Amneris " in " Aida " , " Laura " 



44 



OVERTONES 



in "La Gioconda " (the one in which she made her 
Metropolitan debut the season before). She was the 
" Brangane " in Dr. Artur Rod.zinski»s three perfor- 
mances of " Tristan" in Cleveland, November 30th, 
December 2nd and 4th, with the Cleveland Orchestra. 
She was the contralto soloist with Leopold Stokow- 
ski and the Philadelphia Orchestra on April 27th 
and 28th in the performance of Beethoven's Ninth 
Symphony — in Philadelphia. She appeared, under 
the auspices of the Beethoven Association, in Town 
Hall, on January 15th, with Mr. Vaifred Pelletier 
of the Metropolitan as her accompanist. The Ora- 
torio Society of New York re-engaged her for the 
performance of Baches Mass in B minor on March 21st, 
on which occasion her singing won many warm and 
enthusiastic comments. She also was re-engaged to 
sing this Mass with the Bach Choir of Bethlehem in 
the annual Bach Festival in May. After this per- 
formance, }Jir. Linton Martin, of The Philadelphia 
Inquirer , wrote in his paper (May 13, 1934): "Rose 
Bampton, with her magnificent contralto voice of 
lustrous color and commanding volume at its peak 
of perfection showed that she is now a Bach singer 
of the first rank ". 

Other appearances of Miss Bampton were: with 
the Worcester, Massachusetts, Festival (a re-en- 
gagement); in Tulsa and Oklahoma City, Oklahoma; 
St. Paul; La Crosse, Vliisconsin; Mt. Vernon, Ohio; 
Clinton and Syracuse, New York; Oberlin, Ohio; 
Louisville and Roanoke; Saginaw, Michigan; Elmira, 
New York; Elizabeth, New Jersey; Middletown, Conn- 
necticut; Baltimore; New Bedford, Massachusetts; 
New Brunswick; Buffalo; Pittsburgh; Halifax, St. 
John and Charlotte tovm; Bradford, Pennsylvania; 
Fort Yiayne, Indiana; Freeport, Illinois; Spring- 
field, Illinois; Wilkes-Barre, Pennsylvania; 
Milwaukee; Staunton, Virginia; Lancaster, Pennsyl- 
vania; Albany, New York. 



45 



OVERTONES 



She sang at The Vifhite House, and was soloist 
with the National Symphony Orchestra, of Washington. 

f/hen she appeared in Nev/ York City with the New 
York University Glee Club, she sang a composition 
of Mrs. Edith Evans Braun, for male chorus and con- 
tralto solo, dedicated to the soloist. 

She was soloist over the radio with the Cadillac 
Symphony Orchestra, singing the part of the Wood- 
Dove in Schonberg's " Gurrelieder " , under the compos- 
er's baton, on April 8th. This is a part that she 
has sung on several occasions in the past with Mr. 
Stokowski and the Philadelphia Orciiestra. 

Miss Bainpton was a student of Voice with Mr. 
Horatio Connell and Mme. Queena Mario, and received 
a Curtis Institute diploma and the degree of Bach- 
elor of Music in the Commencement Exercises May 22nd. 

-o- 

Altho Irra Petina was not given the opportunity 
of singing a role of major importance with the Met- 
ropolitan Opera Company, she appeared tv/enty-six 
times and her singing and acting on more than one 
occasion drew favorable comments from the press. 

One of her appearances was in the world premiere 
of Dr. L. Howard Hanson's " Merry Mount" (the after- 
noon of February lOth, in the Metropolitan Opera 
House, New York). Miss Petina was " Desire Annable " . 
Others in the cast were Lawrence Tibbett, as " Wrest - 
ling Bradford", Goeta Ljungberg, as " Lady Marigold 
Sandys " , Gladys Swarthout, as " Plentiful Tewke " , 
and Edward Johnson, as " Sir Gower Lackland" . The 
conductor was Tullio Serafin. In a later perfor- 
mance of this opera. Miss Petina sang the role of 
"Plentiful Tewke" . 



46 



X 



OVERTONES 



Other operas in which Miss Petina sang were 
" Die Walkure " , " Gdtterdamiiierung " , " Parsifal " , " Man- 
on " , and " Cavalleria-Rusticana " . 

She has been re-engaged by the Metropolitan for 
the coming season. 



Russian Opera 

Considering the current interest in Russia and 
all things Russian, the Musicians* Emergency Aid, 
of New York, last v/inter took a very wise step in 
creating a Russian opera company. It was partic- 
ularly opportune — an inspiration, in fact — pro- 
viding employment for a considerable number of 
people, giving performances of creditable artistic 
standards, and staging some rarely heard works. 
Incidentally, and v/liat is of particular interest 
to us, it afforded two of our young singers some 
very valuable experience. 

The company went on tour in November, appearing 
in Detroit, Dallas and Houston, and with it went 
Edwina Eustis and Vera Resnikoff . Returning to New 
York, after a breathing space it opened in tne Ca- 
sino Theatre February 1st, for a very successful 
run of two weeks. 

"With a Moussorgsky-Rimsky-Korsakoff-Tschaikowsky 
repertoire and a company almost solidly native 
Russian, Miss Eustis did an especially commendable 
piece of work. An American, with no previous knowl- 
edge either of the language or of the operas, she 
identified herself as well with her Russian col- 
leagues that, in performance, one might almost have 
thought she had been born in Moscow. At least, so 
we have heard. 

Her artistic work received the highest praise. 



47 



OVERTONES 



Mr. Ralph Holmes insisted in the Detroit Evening 
Times that Miss Eustis* country should be proud of 
her, and lAr. Russell McLauchlin of the Detroit News 
asked "wiry .... do her countrymen not know more 
about her?". 

Writing of the performance of Moussorgsky's 
" Khovanstchina " , given in Detroit on Tuesday even- 
ing, November 28th, in which Miss Eustis sang the 
part of " Mar fa " . Mr. Holmes said; "Again Edwina 
Eustis, American contralto, sang with a voice of 
gripping beauty in the role of Martha and acted the 
character with a vividness that bespeal<:s lessons 
well learned from her Russian associates". Helen 
C. Bower, writing of the same performance in the 
Detroit Free Press of November 29th, said: "There 
are magnificent choruses and several lovely arias, 
one of them sung poignantly by Miss Eustis, whose 
voice is fluent and full-bodied. Her make-up, by 
the way, is remarkably suggestive of the macabre 
part she plays, and her acting in the scene where 
she tells Prince Galitsin*s fortune by reading wax 
dripped in water was a dramatic pinnacle" . 

John Rosenfield, Jr., of the Dallas Morning 
News , wrote, December 5th: "The taxing part of 
Martha , with its stupendous third act solo, was 
voiced by the young American contralto, Edwina 
Eustis, who had every opportunity to reveal the 

unusual scope of her gifts. Miss Eustis is a 

singing-actress of much promise and an object for 
our own nationalistic pride" . 

On tour. Miss Eustis sang " Marina " in Moussorg- 
sky's " Boris Godounov" and ' Marf a " in his " Khovan- 
stchina " . Vera Resnikoff, whose vocal and operatic 
study and experience has been much less than Miss 
Eustis * , sang " Xenia " in " Boris Godounov " , " Emma " 
in " Khovanstcliina " , and the voice of the golden 
cock in Rimsky-Korsakoff »s "Le Coc. d'Or ". The 



48 



OVERTONES 



conductor of the operas was Eugene Plotnikoff . 

New York, of course, was the test. The company 
organized as " The Art of Musical Russia . Inc .". and 
opened on February 1st with " Boris Godounov " in the 
Casino Theatre. 

It was a truly brilliant first night, the audi- 
ence including Lucrezia Bori, Alma Gluck, John Mc 
Cormack, Efrem Zimbalist, Ernest Schelling, Walter 
Damrosch, Charles Wagner, and many others of music- 
al fame. Mr. Plotnikoff conducted, and Miss Eustis 
appeared again as " Marina " . The stage settings were 
by Russian artists, Yasna Anchutin and Vladimir 
Ivanov, and the costumes were those belonging to The 
Curtis Institute, being the ones used by the Phila- 
delphia Grand Opera Company for its "Boris " perfor- 
mances. 

Musical America , February 10, 1934, carried the 

f oiLLowing comment: " as Marina she (Miss 

Eustis) sang richly and smoothly and gave the role 
the appeal of youth. Though the choral singing 
which accompanies the Polonaise was omitted, the 
Garden Scene was more effective than this reviewer 
has known it to be at any performance of the past, 
partly because of the art of Miss Eustis ". 

On February 4th, the company gave " Khovanstchina " 
with Miss Eustis as "Marfa". We quote from the Nev/ 
York Times of February 5th: "As to the performance 
last night, the most leafy laurel crown must go, 
not to a Russian, but to Edwina Eustis as the 
young religion-mazed Martha . Her voice, in the 
first place, displayed a rich and thrilling timbre; 
the dark and moving tone-quality of the true con- 
tralto with a fine mezzo top. She lent this instru- 
ment with care and great effectiveness to the vocal 
line; her singing was well phrased, her projection 
sustained but dramatic." 



49 



OVERTONES 



And Musical America (February 10th) : " ' Khovan- - 
stchina ' , on February 4th, brought Miss Eustis into 
stellar eminence. The role of Martha is one of 
the most baffling elements of a confusing story of 
political intrigue and religious fanaticism in 
Y/hich the *new Russia* of Peter the Great is 
pitted against the 'old Russia* of the Prince 

Khovansky The young contralto, who, 

it is said, had learned Russian in five weeks, 
contributed a distinct and even vivid delineation 
of the part of the girl torn between love, jeal- 
ousy and a fatalistic faith. She sang like an 
artist of long experience and, for the most part, 
with beautiful tone and a fine command of phrase." 

Miss Eustis appeared again in " Boris " on Feb- 
ruary 5th and 11th, and in Tschaikowsky*s " lolan- 
the " on February 7th. 

Miss Eustis, who majored in Opera under Mr. 
von Wymetal, was on leave of absence from the 
Institute during the entire school year 1935-34, 
due to her professional engagements. 



Other Opera 

Helen Jepson, soprano, sang the title role in 
" Louise " (Charpentier) with the Montreal Opera 
Company at the Imperial Theatre in Montreal, 
October 31, 1933. The performance was conducted 
by Mme. Ethel Leginska. Miss Jepson also sang 
"Mimi" in "La Boh^me" with this company. 

Since leaving the Institute, Miss Jepson has 
continued her vocal study .vith i\toie. Queena Mario 
in Nev; York, and with Mr. Pelletier, and has 
greatly increased her repertoire. 



-o- 



60 



OVERTONES 



Wnen the Philadelphia Operatic Society gave 
Offenbach's " The Tales of Hoffman " in the Acad- 
emy of Music on December 4th, Margaret Codd sang 
" Olympia " and Eugene Loewenthal " Dr . Miracle " . 
As the performance was given in memory of the 
late JiJrs. Celeste D. Heckscher, a former presi- 
dent of the Society, Abrasha Robofsky, baritone, 
sang two of Mrs. Heckscher 's songs before the cur- 
tain. 



A Concert at The White House 

On Monday evening, February 12th, six Curtis 
"students" appeared at The White House. They 
were Irene Singer, soprano, Jennie Robinor, pian- 
ist, Jascha Brodskj'- and Benjamin Sharlip, violin- 
ists. Max Aronoff, violist, and Orlando Cole, 
♦cellist, the last four being, of course, the 
Curtis String Quartet. 

These "students" gave the entire program of a 
musicale that followed a large dinner given by 
Mrs. Roosevelt. One of the guests attending the 
musicale was ivtrs. Nicholas Longworth, daughter of 
the former President, Theodore Roosevelt. 

The concert v/as given in the famous East Room. 
The program was as follows: one movement (the 
andante espressivo ; allegro molto moderato) of 
Robert Schumann's String Quartet in A major. Opus 
41, Number 3 — played by the Curtis String Quar- 
tet; Johannes Brahms' " Botschaf t" and " Immer lei 
ser wird me in Schlummer " , and Luigi Arditi's 
"Se saran rose " — sung by Miss Singer; Hugo 
Wolf's " Italian Serenade " — the Quartet; the 
" Japanese Death Song" of E. 0. Sharp, E. Horse- 
man ' 3 " Bird of the Wilderness " , and La Forge ' s 
"To a Messenger " — Miss Singer; and the final 
movement ( allegro non troppo , ma con fuoco ) of 



51 



OVERTONES 



Cesar Franck's F minor Quintet for piano and 
strings — played by Jennie Robinor and the Quar- 
tet. Miss Robinor also accompanied Miss Singer 
at the piano. 

Irene Singer is completing her studies with 
Miss van Emden. The others are graduates of the 
Chamber Music Departuient under Dr. Bailly. 

In token of their ap2:)reciation. President and 
Mrs. Roosevelt presented their autographed photo- 
graphs to each of the delighted "students". 



Town Hall Debut s 

Philip Frank, graduate under Mr, Zimbalist, 
made his debut in Town Hall February 7, 1934. 

Mr. Frank played Brahms* Sonata in D minor, 
Tscliaikowsky*s Concerto in D major, Ravel's 
" Pi^ce en forme de Habanera " , Popper * s " Spinnlied " , 
the " Air de Lensky " of Tscliaikowsky-Auer, and the 
" Carmen Fantaisie " of Sarasate-Zimbalist. His 
brother, Bernard Frank, was at the piano. 

Oskar Shumsky, studying with Mr. Zimbalist, 
also made liis debut in Town Hall, on February 14th. 

His program was: "La Folia " - Corelli-Kreisler, 
and "Le Trille du Diable " - Tartini-4Creisler; the 
Max Bruch Concerto in G minor; the Scmmann-Kreisler 
" Romance " in A major, "Hora Staccato " of Dinicu- 
Heifetz, Hungarian Dance in F minor of Brahms- 
Kreisler, and Wieniawski's Polonaise Brillante in 
D. Vladimir Sokoloff was the accompanist. 



62 



OVEP.TONES 



Other Mew York Recitals 

Nadia Reisenberg, studying with our Director, 
gave a recital in Town Hall on January 29th. 
She was praised for her "crystal clarity of tone" 
(New York Evening; Post ) , "incisive, strongly 
rhythmic playing" (Nev^ York Sun ) and "knowledge 
of style — grace and transparence" (New York 
World-Telegram ) . The New York Time s critic wrote: 
"She gave a particularly charming reading of Ravel 
pieces, a reading beautifully molded and curiously 
touching." 

Earlier in the season. Miss Reisenberg had ap- 
peared in Town Hall, on November 6th, with Mr. Sal- 
mond and Simeon Bellison, Clarinetist. 

Little Margot Ros, aged nine, studying with Miss 
Halbwachs, gave a recital in Steinway Hall, May 8th. 

Carmela Ippolito, graduate under Mr. Zimbalist, 
gave two recitals at The Barbizon (New York) in 
xMarch, and another in May. Theodore Saidenberg, 
accompanist for Mr. Zimbalist, was at the piano. 



Philadelphia Recitals 

Jeanne Behrend, graduate under the Director in 
Piano and under rJr. Scalero in Composition, played 
a recital in the Foyer of the Academy of Music on 
March 1st. She has been called "one of the most 
talented of Philadelphia's younger pianists." 

Max Goberman, violinist and member of the Phil- 
adelphia Orchestra, former student of the Insti- 
tute, gave a recital in the Ethical Culture Society 
auditorium on December 4th. 

Sam Barber, who received the degree of Bachelor 



55 



OVEETONEo 



of Music on May 2?jnd, in Composition, made his 
debut as vocal recitalist at the Cosmopolitan 
Club on the afternoon of May <:5d. (Mr. Barber 
studied voice at the Institute with Mr. de Gogor- 
za, and is just back from a yeai- in Europe during 
which he has considerably furthered his studies.) 

Benjamin de Loache, baritone, assisted by Mar- 
tha Halbwachs, who made a last-minute substitution 
for Lois Putlitz, violinist, gave a recital at The 
Barclay, on Monday afternoon, February 5th. S2;'lvan 
Levin accompanied Mr. de Loache at the piano. Mr. 
de Loache and Miss Halbwachs also received the 
Bachelor of Music degree, in Voice and Piano re- 
spectively, in May. 

Virginia Kendrick, contralto, and Daniel Healy, 
tenor, gave a joint recital at the hall of the 
Society for Etnical Cultore on the evening of 
April 26th. Sarah Lewis was accompanist. Miss 
Kendrick and Mr. Healy are former students under 
Mr. Horatio Connell, Mr. Healy receiving a degree 
in May, as also did Miss Lewis, who studied with 
Mr. Kaufman. 



Other Recitals 

Conrad Thibault, baritone, and Martha Halbwachs, 
oianist, gave a joint recital at Smith College, 
on the evening of November 7th. 

Miss Halbwachs has appeared frequently during 
the season with Benjamin de Loache, baritone. 
Besides other concertizing, these young artists 
gave joint recitals at Camden, South Carolina (Feb- 
ruary 26th), the Everglades Club, Palm Beach (March 
1st), and the Annie Russell Theatre, Winter Park 
(March 5d) . At a spring concert, given in Doyles- 
town, Pennsylvania, Miss Halbwachs being unable to 
appear because of illness, Zadel Skolovsky, student 



54 



0\^ERTONES 



under Mme, Vengerova, made a most acceptable sub- 
stitute. 

In St. Louis, Felix Slatkin, former student 
under Ivlr. Zirabalist, gave a recital on November 
2nd, in the Sheldon Auditorium. 

Agnes Davis, graduate soprano under Mr. de 
Gogorza, appeared at the York, Pennsylvania, Rotary 
Club on March £lst, and, with Miss Halbwachs, at 
the State Norjial School of Glassboro, New Jersey, 
on the 22nd. 



Orchestra Soloists 

Benjamin de Loache was the soloist of the twelfth 
pair of concerts of the Philadelpliia Orchestra, Fri- 
day afternoon, December 22nd (broadcast) , and Sat- 
urday evening, December 23d. He sang the baritone 
solo part of Vaughan T/illiams* Fantasy on Christmas 
Carols, v;ith mixed chorus and orchestra, conducted 
by liilr. Stokowski. In March, immediately after his 
southern tour, Mr. de Loache, appeared with the York 
Symphony Orchestra under Sylvan Levin. 

In the twenty-sixth pair of concerts of the Phil- 
adelphia Orchestra and the third program of Mr. Sto- 
kowski' s Bach-Beethoven Cycle, Florence Frantz was 
the solo pianist in the Brandenburg Concerto Number 
5. This pair was given on Saturday evening, March 
31st, and Easter Monday afternoon, April 2nd, the 
latter concert being broadcast. 

In the fourth program of the Bach-Beethoven Cycle 
Jeanne Behrend and Sylvan Levin were two of the 
soloists playing Bach's Concerto in A minor for four 
pianos and orchestra. The program was given on 
Friday afternoon, April 6th, and Saturday evening, 
the 7th, with the former a broadcast. 



55 



OVERTONES 



In the final concerts of the Bach-Beethoven 
Cycle which also concluded the season of the Phil- 
adelphia Orchestra, Agnes Davis, soprano. Rose 
Hampton, contralto, and Eugene Loewenthal, student 
bass, were soloists in a perforraance of the Ninth 
Symphony which, according to Mr. Samuel Laciar of 
the Evening Ledger , was the finest "that has been 
heard in Philadelphia within the memory of this 
commentator". These two concerts were given on 
April 27th and 28th. 

The fourth of Mr. Stokowski's increasingly pop- 
ular Youth Concerts, at which eYery seat in the 
Acaden^ of Music was filled including about 200 
extra ones on the stage, programmed Ezra Rachlin^ 
young student under Mr. Saperton, in the Liszt 
Concerto in A. The concert was given on Thursday 
evening, January 11th- 

Mr. Rachlin also appeared with Nikolai Sokoloff 
and the New York Orchestra in Carnegie Hall on 
March 15th, playing Rachmaninoff *s Concerto Number 
5 in D minor. 

Dr. Hofraann*s student, Shura Cherkassky, was 
soloist with the Minneapolis Symphony Orchestra 
in the Cyrus Northrop Memorial Auditorium Sunday 
afternoon, March 11th. It was lir. Cherkassky* s 
first appearance in Minneapolis and with Mr. Or- 
mandy. Mr. Cherkassky played Tschaikowsky» s first 
Piano Concerto and evoked some singularly acute 
criticisms from the press denoting, we cannot but 
feel, a very real interest in our young man, who 
has not yet arrived at his twenty-third birthday. 
While almost without fail cominenting on Shura' s 
"energy", "splendid virility", "intensity of pur- 
pose", "electric precision", "rhythmic vigor", 
"remarkable co-ordination" and the "wizardry of 
his technique", and noticing, in not unfriendly 
manner, some "youthful indiscretions" such as 



56 



OVERTONES 



overemphacized fortissimi, all united in opinion- 
ing that he is a young artist to be watched. In- 
deed, Frances Boardman of the St. Paul Pioneer 
Press instantly decided that "it seems likely 
that young Cherkasslc,'' is due for a place among 
the great", and James Davies of the Minneapolis 
Tribune predicted that Cherkassky^s name "will be 
familiar to American audiences within a very few 
seasons" and said also, uncompromisingly, that he 
was "the most promising young pianist heard for 
many years" by a Minneapolis audience, Utr. Cher- 
kassky played two encores: Mendelssohn* s " Trumpet 
Call " Scherzo ( Caprice in F) , and Chopin's Waltz 
in C sharp minor, described by Victor Nilsson in 
the Minneapolis Journal as "flawless", "rhythmic- 
ally perfect" and "soothingly graceful". 



Other Appearances 

Daniel Healy, tenor, was assisting artist in 
an organ and song recital given in Irvine Audito- 
rium, University of Pennsylvania, on Wednesday 
afternoon, November 8th. It was a program of Men- 
delssohn works. 

lAr. Healy was soloist in the presentation of 
Debussy's " L 'Enfant Prodigue ". sung in English, 
at the Church of the Saviour, Philadelphia, on 
the evening of April 2End. 

Agnes Davis appeared with the Brahms Chorus 
conducted by N. Lindsay Norden, in Irvine Audito- 
rium on the evening of December 14th. Verdi's 
great Requiem Mass , composed as a tribute to the 
memory of the poet Alessandro Manzoni, was sung 
by Miss Davis, the other soloists, and a chorus 
of a hundred voices, using the Latin text. There 
was an orchestra from the Philadelphia Orchestra 
and Dr. Rollo F. Maitland was at the organ. 



57 



OVERTONES 



Another appearance of Miss Davis was with the 
Junger Manner chor, directed by Leopold Syre, in 
the ballroom of the Penn Athletic Club, Philadel- 
phia, on the evening of May 9th. She sang the 
solo part of Otto Siegl*s " Klingendes Jahr " with 
the chorus and a string orchestra from the Phila- 
delphia Orchestra, and also an aria from " Per 
Freischiitz " . 

Benjamin de Loache had several appearances dur- 
ing the season with the Bach Society of Delaware 
County, which is directed by Mr, James Allan Dash. 
On Sunday afternoon, January 7th, he sang with this 
chorus in St. Joim*s Lutheran Cliurch, Overbrook, 
the program including the Christmas Fantasia of 
Vaughan 'Williams and Bach's "The Sage s of Sheba". 
Mr. de Loache was soloist on Tuesday evening, April 
24th, in the concert given by the Bach Society in 
Nevil Memorial Church of St. George, Ardmore, when 
an all-Bach program was given, consisting of the 
choruses " Lord , Our Redeemer " ♦ from the St . John 
Passion, and " Et Incarnatus Est " and " Grucif ixus " . 
from the B minor Mass, the Cantatas " God's Time is 
Best " and " Sleepers Wake " , and three Chorales from 
the St . Matthew Passion . The organist on this 
occasion was Alexander McCurdy, Jr., whose activi- 
ties are mentioned elsewhere. 

Mr, de Loache was soloist with a choir of sixty 
voices in the performance of Stainer's " Crucifix - 
ion " at Sellers Memorial Church, in Upper Darby, 
on Wednesday evening, March 28th. The organist 
again was Mr. xMcCurdy. Mr. Dash conducted. 

On January 28th, Mr. de Loache was soloist in 
a Bach program given at the Second Presbyterian 
Church, Philadelphia, directed by Mr. McCurdy, and 
the baritone assisted the organist in a recital 
at the Church on March lOth. 



58 



OVERTONES 



Leonard Treash, baritone, was soloist with the 
choir was St. John's Lutheran Church, Overbrook, 
in a presentation of Stainer's " Crucifixion" on 
Friday evening, March SOth, with IiHr. McCurdy at the 
organ and Mr. Dash conducting. 

Twelve-year-old Phyllis Moss, studying with Mme. 
Vengerova, was guest artist at the Children's Con- 
cert of the Philadelphia Chamber String Siinfon- 
ietta, conducted by Fabien Sevitzky, on the morning 
of April 28th, in the Bellevue-Stratford ballroom. 
The works she played were Bach's Prelude from the 
Partita in B flat major, and Chopin's Fantaisie Im- 
promptu in C sharp minor. 

The little Cuban, Mar got Ros, played at Washing- 
ton, D. C, during the winter, in a program cel- 
ebrating Pan-American Day. 

Joseph Levine, studying with the Director and 
Mr. Saperton, appeared in a prograjn with Berta Le- 
vina, given at the Temple Adath Jeshurun, Philadel- 
phia, on the afternoon of January 3d, under the 
auspices of the Adath Jeshurun Women's Association. 
Mr, Levine played compositions of Brahms, Peganini- 
Liszt, Chopin, Glinka-Balakirev, and Deiibes-Dohnah- 

Myra Reed, artist-student pianist who studied 
at the Institute a short time in its earlier days 
(1926) with Wilhelm Bachaus, is a member of the 
Lester Ensemble and has appeared as soloist with 
this organization in Philadelphia and surrounding 
communities frequently during the past two years. 

Eudice Shapiro, Zimbalist student, was one of 
the guest artists of the Philadelphia Music Club at 
the Bellevue-Stratford on Tuesday afternoon, Febru- 
ary 6th. Her accompanist was Ralph Berkowitz, stu- 
dent under Mr. Kaufman. 



59 



OVERTONES 



Orlando Cole, 'cellist, was one of the assist- 
ing artists with the Pitman Comiiiunity Male Chorus, 
in Pitman, New Jersey, on the evening of December 
14th. 

Alice Chalifoux, former pupil of Mr. Salzedo 
and first harpist of the Cleveland Symphony Or- 
chestra, collaborated with Mr. Salzedo in a reci- 
tal at the Institute Mather Hall, in Cleveland, 
in November, playing a Sonata by Mr. Salzedo and 
other works. 



Organists 

The excellent work which Alexander McCurdy, Jr., 
and other Philadelphia organists have been doing 
in the presentation of the best of sacred music in 
their cliurches, last autumn attracted the interest 
of Mr. Samuel L. Laciar, who devoted his entire 
article in the Evening Public Ledger of November 
26th to a discussion pf this subject. The regular 
Sunday afternoon services at the Second Presbyte- 
rian Church, in which Mr. McCurdy gives master- 
pieces of sacred music, were mentioned particular- 
ly by the critic as being conspicuous and commend- 
able in the activity along this line. Mr. Laciar 
referred to one of these services again in his 
article on February 3d, observing that on a cold, 
rainy afternoon the Second Presbyterian Church 
"7/as filled almost to capacity to hear a service, 
chiefly musical, at which all the numbers were by 
Bach" . 

This organist, \irho is a graduate and former 
pupil of the late Dr. Lynnwood Far nam, had a very 
active year, playing numerous recitals and par- 
ticipating in several concerts, conducting the 
Trenton Choral Society and carrying on his ovm 
regular church work. 



60 



OVERTONES 



This year, in the Sunday afternoon services re- 
ferred to, Mozart* 3 Requiem was given twice, being 
repeated by request., by the choir, soloists, and 
an orchestra made up of members of the Curtis Sym- 
phony Orchestra. Robert Noehren, who also studied 
at the Institute, was at the organ. Cesar Franck's 
Mass in A was given, on November 26th, by the 
choir and soloists, assisted by Flora Bruce Green- 
wood, harpist and former Curtis student, and again 
an orchestra composed of members of the Curtis 
Symphony Orchestra, The Trenton Choral Society 
sang in the Church on December od, assisted by Miss 
Greenwood and Agnes Davis, soprano. Miss Green7/ood 
and members of the Curtis Symphony Orchestra assis- 
ted the choir in the Christmas carol services on 
the afternoons of December 24th and 51st. The Bach 
program referred to by Mr, Laciar, which was one 
of several, was given on January 28th, by the 
choirs of the Second Presbyterian Church and St. 
James' Church, Kingsessing, with an orchestra 
dra;7n from the Curtis Symphony Orchestra. In this 
program Benjamin de Loache was guest soloist. 
Rossini's " Stabat Mater " and the " Stabat Mater" of 
Dvorak were given in February and March, The Music 
for these services is under Mr. McCurdy's direction. 

On Saturday afternoons in Mai'ch Mr. McCurdy gave 
a series of organ recitals in his church. Two of 
his solo assistants were Benjamin de Loache and 
Flora Bruce Greenwood. 

Other activities of Ur, McCurdy included play- 
ing the organ for performances of Stainer's " Cru- 
cifixion " at Sellers Memorial Church, Upper Darby, 
and St. John's Lutheran Church, Overbrook, and 
accompanying the Bach Society of Delaware County 
at the Nevil Memorial. Church in a Bach concert, 
besides playing recitals in Cincinnati, Pittsburgh, 
York, Pennsylvania, and Chicago, and giving six 
concerts at Sv/arthmore, Pennsylvania. 



61 



OVERTONES 



Carl Weinrich, also a graduate and former pupil 
of Dr. Farnara, gave four organ recitals of Bach 
music at New Yor.: University, University Heights 
branch, in July 1'j33. He also played at the Im- 
manuel Presbyterian Church, in Los Angeles, dur- 
ing the winter. 

Mr. Weinrich has been engaged as director of 
the organ department of the Westminster Choir 
School at Princeton, New Jersey, beginning next 
autumn. 



The Curtis String Quartet 

The Curtis String Quartet, graduate ensemble of 
the Chamber Music Department under Dr. Bailly, had 
an active and interesting season, appearing thirty- 
three times from October thru May, up and down the 
Atlantic seaboard from Maine to Florida. 

The Quartet *s own series, given in the audito- 
rium of the Ethical Culture Society, Philadelphia, 
this year consisted of three concerts. The first, 
on the evening of December 21st, set a high stan- 
dard for the Quartet to live up to in the succeed- 
ing ones, Mr. Laciar of the Ledger commenting that 
it was the best concert the Quartet had given in 
Philadelphia thus far. The program consisted of 
Haydn's Quartet in C major. Opus 54, Number 2, 
y^olf's " Italian Serenade", and Ravel's Quartet in 
F, and Mr. Laciar wrote that he never had heard a 
better performance of the Ravel work. In the sec- 
ond concert, given February 15th, the Quartet was 
assisted by Jennie Robinor, pianist, also a grad- 
uate of the Chamber Music Department, in the per- 
formance of the Franck Quintet in F minor. The 
other niimbers were the Schumann Quartet in A major, 
Oi>us 41, Number 3, and the " Abergavenny " of Bour- 
gault-Ducoudray. Two great masterpieces of chamber 



62 



OVERTONES 



iHusic were performed in the third concert, March 
14th, — Beethoven's Quartet in F minor. Opus iJS, 
and Schubert's Quartet in D minor, knov/n as " Death 
and the Maiden" . With Hindemith' s " Eig;ht Pieces " , 
the concert was conceded by the press and public 
to have been a brilliant climax to the series. 

The Quartet participated in the series of 
chamber music concerts given in Philadelphia spon- 
sored by the Art Alliance and the Musical Fund So- 
ciety. The eight concerts v;ere called, this year, 
the " Historical Series", being a review of chamber 
music over the past two hundred years. The con- 
certs were given by the Curtis String Quartet and 
the Musical Fund Quartet, of which a Curtis student 
— Leonard Mogill, viola, — is a member, and 
assisting artists. 

The first concert, given November 22nd, covered 
the period from 1650 to 1800 and was played by the 
Curtis String Quartet, Boris Goldovsky, Curtis 
faculty member, and Mr. Stephen Deak, former fac- 
ulty member. The program consisted of the Purcell 
Chaconne in G minor, played by the Quartet; Loeil- 
let's Trio in B minor, played by Messrs. Brodsky, 
Cole and Goldovsky; the Dittersdorf Quartet in E 
flat major, played by the Quartet, and the Bocche- 
rini Quintet in C major, in which the Quartet was 
assisted by Mr. Deak. 

The second concert was given on December 15th 
by the Musical Fund Quartet and assisting artists, 
and was devoted to the music of Haydn and Mozart. 

The Curtis String Quartet, Mr. Goldovsky, and 
wind instruments of the Philadelphia Orchestra 
gave the concert of January 10th, which covered the 
late eighteenth and early nineteenth centuries. 
The Quartet won fresh laurels in playing the Mozart 
Quartet in G major, Number 12, and the Beethoven 
Quartet in F major. Opus 59, Number 1. Mr, Gol- 



65 



OVERTONES 



dovsky, Mr. Marcei Tabuteau, lUr . Jules Serpentini, 
Mr. Anton Horner, Mr. Walter Guetter, played the 
Beethoven Quintet in E flat major. Opus 16. 

The fourth concert, on January <.4th, — Beetho- 
ven's A minor String Quartet , emd Schubert's "Fo- 
rellen " Quintet — was given by the Musical Fund 
Quartet and asvsisting artists. 

The next was a Schubert concert, given on Febru- 
ary 7th» Two of his greatest chamber music compo- 
sitions — the Trio in B flat major. Opus 99, and 
the Quintet in C major. Opus 165 — were played by 
Messrs. Brodsky, Cole and Goldovsky, SLnd the Cur- 
tis String Quartet and Mr. Deak. 

On February Slst, Schumann's Piano Quartet in 
E flat major (in which Mr. Goldovsky substituted 
for Mr. Arthur Reginald), Schumann's F major Quar- 
tet (played by the Musical Fund Quai-tet) , and the 
Svendsen Octet , in A major. Opus 5 (in which the 
Curtis String Quartet and the Musical Fund Quartet 
joined forces) were performed. 

The Curtis String Quartet and Mr. Goldovsky gave 
the March 7th concert, consisting of Debussy's 
G minor Quartet , Dol:inanyi's D flat major Quartet 
and the great F minor Quintet of Franck* 

The last concert of the series, given March 
21st, consisted of contemporary music: Ravel's 
String Quartet in F, Faure's C minor Quartet (piano 
and strings), and Schonberg's " Verklarte Nacht " 
Sextet . Orlando Cole substituted for Mr. Deak in 
the Musical Fund Quartet, the latter being ill, 
and yielded his place in the Sextet , as assisting 
artist, to lAr, Benjamin Gusikoff. 

On Friday evening, November 3d, the Curtis 
64 



OVERTONES 



String Quartet made its Nev/ York debut, in Town 
Hall. Altho the Quartet had appeared in New York 
before, this was the first time it had given a 
concert of professional status before a critical 
audience. The program consisted of the Haydn 
Quartet in C major, Opus 54, Number 2, the Schu- 
bert Quartet in G major, Opus 161, and the Schu- 
mann Quartet in A major. Opus 41, Number 3. 

On the follo¥;ing day, the Quartet played in 
New York, at the Studio Guild, witn Phyllis Byrne, 
pianist, and on the 11th appeared in Baltimore. 

In January, the Quartet left on a southern 
tour, playing at the Mary Baldwin College, Staun- 
ton, Virginia; Judson College, Marion, Alabama; 
the Annie Russell Theatre, Winter Park, the Moun- 
tain Lake Club, Lake Yiiales, and the Everglades 
Club, Palm Beach, Florida; Spellman College, At- 
lanta, Georgia; and in Greenville, Sonath Carolina. 
At the Annie RuSvSell Theatre, the Quartet was 
assisted by Jennie Robinor, pianist, and Dr. Bailly, 
and the program consisted of the Haydn Quartet 
in C major. Opus 54, Number 2; Clerambault's So - 
nata in E minor for violin, viola and piano (played 
by I^. Brodsky, Dr. Bailiy and Miss Robinor); the 
Brahms Quintet in G major. Opus 111 (played by 
Dr. Bailly and the Quartet); and the Franck Quin- 
tet (played by Miss Robinor and the Quartet) . 

Miss Robinor also assisted the Quartet at the 
Mountain Lake Club, the program being the Ravel 
Quartet and the Franck Quintet . Dr. Bailly played 
the Brahms Quintet with the Quartet, and Miss Ro- 
binor the Franck Quintet T/ith the boys, at the 
Everglades Club. 

In February, on the 12th, the Quartet appeared 
at the White House, as noted elsewhere. 



65 



OVERTONES 



In Maxch the Quartet went north to New England, 
playing a second concert during the season at the 
Albany Institute of History and Art, Albany, New 
York, and appearing at Harvard College, Hotchkiss 
School, in Lakeville, Connecticut, and Bowdoin 
College, Brunswick, Maine. 

Other concerts were at the Cosmopolitan Club, 
New York (assisted by Miss Robinor); Grace Church, 
Harrisburg; the University of Princeton (again 
with Miss Robinor) ; and at the Brooklyn Institute 
of Arts and Sciences. Before the Harrisburg con- 
cert, the Quartet broadcast a special program of 
a half hour's duration. 

The members of the Curtis String Quartet are 
Jasciia Brodslr,?-, Benjamin Sharlip, Max Aronoff , 
and Orlando Cole. 



Other Activities in Chamber Music 

As already mentioned, Leonard Mogill, viola, is 
a member of the Musical Fund Quartet, which par- 
ticipated in the " Historical Series " and gave sev- 
eral other concerts besides, locally, during the 
winter • 

A younger ensemble of the Chamber Music Depart- 
ment, being trained by Dr. Bailly, — the Casimir 
Quartet, v/hose members are Charles Jaffe and 
James Bloom, violins; Alvin Dinkin, viola; and 
Victor Gottlieb, 'cello — gave a concert at the 
Playhouse (Nev^ York) under the auspices of 
the Henry Street Settlement, on Sunday evening, 
April 15th. 

Marian Head, violin student under Mme. Lubo- 
shutz, and Gabriel Braverman, viola and former 
student under Dr. Bailly, are members of an 



66 



OVERTONSS 



ensemble knovm as the Stringart Quartet, which 
gave six concerts during the winter in the audi- 
torium of the Unitarian Church of Germantown, and 
also played in Bryn Mawr and Haverford, and made 
several other local appearances. 

Three younger students — Sol Kaplan, pianist, 
Rafael Druian, violinist, and Samuel Mayes, 
'cellist — appeared in Nichols Hall, of the 
Arch Street Methodist Episcopal Church, Philadel- 
phia, on the afternoon of April 4th, under the 
auspices of the Women's Interdenominational Union 
of Philadelphia and Vicinity. Each student played 
solos; Master Kaplan and Master Druian played Bee- 
thoven's " Springtime " Sonata ; and the three united 
in playing liis Trio Number 4 in B flat major. 

Virginia Majewski is the viola member of the 
Marianne Kneisel String Quartet. She appeared 
with this organization several times during the 
season. 



Orchestra Conductors 

Word has been trickling back to the Institute 
of the activities of Felix Meyer, student 1^27-28 
thru 1930-51, majoring in Clarinet with a year in 
Conducting under Mr, f.llynarski. Mr. Meyer, liv- 
ing in Jacksonville, Florida, has created there a 
symphony orchestra of fifty men and women who meet 
from time to time for rehearsal and give several 
performances a year. This orchestra, entirely 
amateur, has developed to the point v/ here it could 
this spring enlist the co-operation of a profes- 
sional soloist of the calibre of Mme. Ren^e Longy 
Miquelle of our faculty. 

Specializing in Theory, Mme. Miquelle 's instru- 
ment is the piano. She has appeared in concert 
with various symphony orchestras among which has 
been the Boston. 



67 



OVERTONES 



A copy of the program of the spring concert by- 
Mr . Meyer ' s " Little Symphony Orchestra " ( given on 
April 6th) found its way to us. Opening with the 
Bach Chorale " Bist du bei mir? " and the Branden- 
burg Concerto Number 2, followed by Beethoven's 
S.vmphony Number 8, the featured number was Mozart's 
Piano Concerto in D minor. Debussy *s " Bruyeres" 
(arranged by Itr. Meyer for orchestra), and the 
PolVra and Dance of the Comedians from Sme tana's 
" Bartered Bride " concluded the concert. 

Frank Noyes, former student, conducts an orches- 
tra in Hastings, Nebraska. 



Orchestral 

Many former students, and some still enrolled, 
are members of symphony orchestras. Counting only 
those v;ho were accepted by lEr* Stokowski after 
study at the Institute, there are fifteen former 
students in the Philadelphia Orchestra. The Cleve- 
land and the National Symphony Orciiestras each en- 
gaged nine former students during the present year. 
Five former students are members of the St. Louis 
Symphony Orchestra. Two are members of the Chicago 
and two members of the Los Angeles Symphony, and 
five former students are members of the United 
States Navy Band. 

Sune Johnson and Attilio de Palma, horns, 
asisted in a program given in the theatre of the 
Folger Shakespeare Library, Washington, D. C, 
in celebration of the three hundred and seventieth 
anniversary of the birth of Shakespeare. The 
program, sponsored by TJlrs. Elizabeth Sprague Coo- 
lidge, was given by John Challis, Edith Yfynne 
Matthison, and the Ypsilanti Singers, conducted by 
Mr, Frederick Alexander. 



68 



OVERTONES 



Schima Ka\if:nan, violinist of the Philadelphia 
Orchestra, who studied at the Institute, has 
written a book, a biograph/ of Mendelssohn, which 
we hear is to be publislied in the autumn. 

Jan Savitt, also a meraber of the Philadelphia 
Orcliestra and former student, has received an 
appointment as musical director of WCAU. 



Former students of Composition 

Harlow John Mills, who studied with Mr. Scaler o 
and who received a diploma in absentia on May 22nd, 
won first prize in the Joseph H. Beams contest for 
1954, with his Sonata for piano and violin, which 
he composed in Italy during the sumi'iier of 1935 
while studying there with l&r, Scalero. Other , 
students v/ho have won this annual award have been 
Sam Barber {jiho won it twice) , and Roland Leich. 

In a concert given by the Society for Contemix)- 
rary Music at the Mellon Galleries, Philadelphia, 
the compositions of two former students were per- 
formed. Sam Barber's Sonata for violoncello and 
piano was played by Orlando Cole and Ralph Berko- 
witz, and four songs composed by Jeanne Behrend to 
poems by Sara Teasdale were sung by Miss Tilly Bar- 
mach, soprano, with Miss Behreniat the piano. 



Miscellane ous 

When the pageant, "T he Romance of a People " , was 
given in Convention Hall, Philadelphia, February 
19th - March 5d, Marie Budde, soprano, Leonard 
Treash, baritone, and Benjamin Grobani, baritone, 
were soloists. The production was directed by 
Isaac van Grove. 



69 



OVERTONES 



Albert Mahler, tenor student, during the entire 
winter appeared in Jewish repertoire with a com- 
pany at the Arch Street Theatre, Philadelphia, 
gaining some additional acting experience. 

Louise Walker teaches at Judson College, 
Marion, Alabama, Walter Vassar is a member of the 
faculty of DePauw University. Jennie Robinor 
teaches at the Settlement Music School, Philadel- 
phia. William Cameron, solo haroist of the United 
States Navy Band and head of the harp department 
of the Wasiiington College of Music, also teaches 
privately in Providence, Rhode Island, his home 
city. 

The Delavvare School of Music, located in Wil- 
mington, listed the following students and former 
students in its 1935-54 catalog as members of its 
faculty: William Harms and Florence Fraser (Piano) , 
Daniel Healy, Leonard Treash and Ruth Car hart 
(Voice) , Lily Matison (Violin^ Howard Mitchell 
(Violoncello), Marjorie Tyre (Harp), Paul Robinson 
(Organ) , and Albert Mahler (Operatic Acting) . 



Recordings 

The RCA Victor Company released, in December, 
recordings of excerpts from Gotterd§.mmeining , played 
by Mr. Stokowski and the Philadelphia Orchestra 
assisted by Agnes Davis, who sang Brunnhilde's Im - 
molation Scene . 

Conrad Thibault, increasingly -popular radio 
artist, has made numerous recordings with the Victor 
people, as also has Rose Bampton. 



In Canada and Europe 
Ethel Stark, graduate violinist under rilme. Lubo- 

70 



OVERTONES 



shutz, gave a recital in the Imperial Theatre, 
Montreal, November 2'dth. Her accompanist was 
Ralph Berkowita, pupil of Mr, Kaufman. 

Judging by the press. Miss Stark made consider- 
able of a success. The Gazette (November 30, liJ35) 
found that her playing "proved that Canada can still 
mother good artists" . (Miss Stark is a native of 
Montreal.) "This violinist", further said The 
Gazette , "possesses the tv;o principal qualities 
which alone go towards the making of a first-class 
performer on a stringed instrument. She has the 
ability to produce a beautiful tone and to play 
v/ith true musical expression. ...... She is a fine 

technician but never allows herself to be caught 
in the snare of virtuosity. Her tecimical equip- 
ment is always subordinate to the demands of the 
music." 

Miss Stark also appeared with the Montreal Sym- 
phony Orchestra. 

-o- 

Paul Zuydhoek, organ student with Idr. Germani, 
received a special scholarship in memory of Mr. 
Cyrus Curtis, given by his daughter, permitting 
him to study in Italy with Mr. Germani during the 
summer of 1953 and continuing until December. Mr 
Zuydhoek appeared in a concert given on November 
22nd at the Sal one Chigi-Saracini, the first of 
the winter series, playing organ solos and works 
for organ and orchestra with the Orchestra Senese 
conducted by Vittorio Baglioni. 

-o— 

Jean-Marie Robinault, pianist and former stu- 
dent under Mr. Saperton, appeared during the 
winter in Holland, Switzerland, and Germany, and 



71 



OVERTONES 



also made his London debut, giving a recital in 
Yfigmore Hall on the evening of February 20th. 
T^herever he appeared, Mr. Robinault received ex- 
cellent press criticisms, excerpts from which 
follow: 

De Nieuwe Dag (Amsterdam) . "A young and 
great artist, who has the strength and the 
ability to rise to international fame . 

It is a blessing to see that, in the 

art of music, there are still young men of 
flesh and blood: artists who serve their 
Art for its owa sake and existence - with 
all their heart, with all their love, with 
all their young and strong and warm and 
convincing enthusiasm. It is a true joy to 
the music-critic to be able to hail the 

appearance of such an artist 

Hear Robinault* s Chopin: most passionate, 
poetic, magnificent in colour and shape — 

it becomes a thrilling experience 

Hear his Schumann ( Etudes symphoniques) : 
most varied, captivating from beginning to 
end. A fine and admirable interpretation. 
Remember tne name of this pianist 



II 



• • 



Allgemeen Handelsblad (Amsterdam) . " . . 
playing Yery remarkable and individual" 

... "sharp musical intelligence" "a 

. . fresh interpretation which held us cap- 
tivated" . 

The Observer (London) . "The clean, incis- 
ive style favoured by Robinault kept inter- 
est on the stretch and shed a new light upon 
the music. This calculated refusal to be 
pompous put fresh life into the old bones of 
Franck's Prelude , Choral and Fugue . One had 
forgotten it would sound like that, and when 
the accumulated cobwebs of sickly sentimen- 



72 



OVERTONES 



tality were swept away in this cool blast, a 
whole array of fair shapes v/as re-discovered." 

Zilrcher Volkszeitung . " . . . . technical mech- 
anism faultless, touch extremely varied, elas- 
tic, well-balanced, tone in Forte round, never 
hard. Octaves and finger-teciinique of the 

finest In Franck, demonstrated 

a wonderfully transparent piano- tone . The 
Chopin Etudes delighted the audience; the 
Debussy pieces and a Liszt encore were played 
with a fiery buoyancy ( ztlndenden Schwung ) and 
a richness of colours which compelled admira- 
tion and brought spontaneous applause. We 
shall be happy to greet this great artist here 
again." 

Neue Zurcher Zeitung . "In Robinault's playing 
everything is in the right place." 

Allgemeine Musikzeitung (Berlin) , "The out- 
standing achievements of the young French 
pianist J. M. Robinault assured him a spon- 
taneous success for his first appearance in 
Germany. ?/e have recognized in him an ar- 
tist of high order. He demonstrated in a 
few Chopin Etudes a brilliant, truly dazzling 
virtuosity, cultivated to the highest degree. 
His touch is equally beautiful thi-oughout 
the whole dynamic range, and in its velvety 
pianissimi really enchanting. The fact that 
this remarkable artist found the characteris- 
tic expression for Schumann's Etudes symphon- 
iques with as true a musical instinct as for 
Debussy's precious impressionism speaks for 
his unusual versatility. An artist of J. M. 
Robinault's class will always be welcome in 
Germany I " 

Neue Preussische Kreuzzeitung (Berlin) . " . . 
plays with the authority of the born 

75 



OVERTONES 



musician." 

Signale (Berlin). " audience electrified 

by his playing " 

B. Z, am Mi t tag, (Berlin) . "Debussy sounds 
under his fingers more concrete and intellig- 
ible. Pieces like ' Reflets dans 1 * eau ' thus 
speaJi to us like a poetic tale, ' L*Isle .ioy- 
euse* like a dramatic poem, wh^se musical 
substance is not expressed as a morbid tv/i- 
light-world, but plastically exact and riryth- 
mically clear." 

Steglitzer Anzeiger (Berlin) . "A faultless 
virtuosity, high-class technique, an extreme- 
ly sensitive feeling for touch variety and 
rhythmic differentiation, added to an evident 
sense for style, raise this pianist above the 
crowd of *also talented' and assure him of an 
artistically significant future." 

Mr. Robinault is a French citizen, residing in 
Paris. He received the degree of Bachelor of Music 
from The Curtis Institute in absentia on May 22nd. 

-o- 

Another European to be heard from during the win- 
ter was Tibor de Mactiula, 'cellist. This former 
pupil of Mr. Salmond gave a recital in The Hague 
on February 24th and another on April 13th. He also 
appeared as a member of a trio consisting of Messrs. 
Nicroth, violin, and Osborn, piano, (we regret that 
our information does not include the full names) and 
himself. 

-o- 

Sam Barber, student of Composition under Mr. Sca- 

74 



OVERTONES 



lero, spent the sumaier and autumn of 1953 visiting 
his friend and fellow-student, Gian-Carlo Menotti, 
in Italy. Late in October Mr. Barber and Mr. Me- 
notti went to Vienna, where they found another 
forioer student, John Bitter, and Mr. and Mrs. John 
Braun. 

The following are excerpts from a letter that 
came during the winter from Mr. Barber (quoted with 
his permission) : 

"Great fun was Mr. Toscanini»s kindness 
to Menotti and me. \ir, Toscanini lives 
around the corner, on Lake Maggiore, and he 
went out of his way to be hospitable. He 
used to get us in his motor boat and take 
us home for dinner or tea, and these even- 
ings always ended in music. I shall never 
forget one August night of full moon 



"Mr. Toscanini has a whole island, one 
of four in the laiie, with a woods — big 
pine trees — the villa up on the peak of 
the cliff, built around an old church of 
the Principe Borommeo — exquisite gardens 

— and all around the waves of Maggiore 
lapping at the foot of the island's cliffs 

— and tiny lights on all the distant 
mountains • 

"Once, after dinner, we went through 
Monteverdi's Orfeo . I had never knovm this 
Renaissance opera before, v/ith its amazing 
contemporaneousness. Toscanini played .... 

and sang Eur id ice full of 

feeling. -^I sang Orfeo and was in the 



*Mr. Barber also studied Voice at The Curtis Inst- 
tute - with Mr. de Gogorza. 



76 



OVERTONES 



Seventh Heaven of delight. The wonderful 

l^jQent - Tu sei morta I sstng it with 

my orchestra here afterwards. Afterwards 
we sat on the terrace and talked half the 
night. V^agner's oldest daughter and Liszt* s 
granddaughter were there . 

"I had never been in the country so late 
in the autumn before, and for the first 
time I saw those mountains across in Switz- 
erland - which I dearly love - covered with 
snow. Long walks through the leaves and the 
rain. By that time all the villas were closed 
except Menotti's, and to pass the evenings we 
would have an old peasant woman - La Marsina - 
come up and tell stories, while we sat by a 
roaring fire and roasted chestnuts. Ugo Ara, 
the ex-Flonzaley man, used to come over from 
the Isola dei Pescatori on Maggiore. 

"All this time, besides my composing, I was 
studying a great deal of old Italian music 
which we should know better ........ for in 

the Italian primitives, where tonality is not 
so taken for granted as in the early Germans, 
there is much which our too-complicated con- 
temporary composers might learn. 

"Menotti and I drove up through Switzer- 
land and Tyrol, unforgettable with autumn 
leaves and snow-covered pines, and arrived 
here for the Toscanini concert (November 1st) . 

"The rest of the v.inter has been ideal. 
I found an atelier in Brahmsplatz, which looks 
out over the city. The landlady, who lives 
in an apartment underneath, has a charming 
daughter-painter who immediately introduced 
me to many people. Then one makes many 
friends skating at the open-air ice rink 



76 



OVERTONES 



every day at noon to the strains of an 
Austrian band. Everyone is so hospitable; 
for instance, I was invited for five days 
to their country place in the Alps for ski- 
in>^ at Christmas by almost total strangers. 



"I have a studio in the Teresianum , a 
convent built by the Empress Maria-Teresa 
and now a sort of school. The place is so 
full of v/inding corridors that no one can 
ever find me — first good point I — and, 
second, the studio itself is so uncorofort- 
able, with only a piano and a desk, that 
there is no possibility for anything but 
work. 

"Shortly after getting settled here I 
had the idea of having a little orchestra 
come to play in my atelier every week so 
that I could learn to conduct. I was able 
to get sixteen of the best young strings in 
Vienna - all members of the Konzertorcheste r 
- for a total sum of ^9 weekly. Unbelievable I 
These V;ednesday afternoons have been my 
greatest fun, and what better way is there 
to learn to conduct? 

"The atelier is very attractive - grand 
for music - and the acoustics make it often 
sound like a whole symphony. I play exactly 
what !_ want • •• 

"I have done much unplayed music from 
MSS of Vivaldi, Caldara, etc., lent to me 
by librtiries here. The size of the orches- 
tra is against modern music, but I did do a 
Sibelius premiere and a Menotti. *I played 

^^Mr. Barber studied piano with Mme. Vengerova, at 
The Curtis Institute. 



77 



OVERTONES 



the piano solo part in the Bach D minor 
Concerto , and sang the scene from Or fee . 

, Mrs . Braiin played one of 

the solo parts in the Brandenburg Concer- 
to and all the continuo parts of the old 
music. 

"In January the director of the Musik - 
freundgesellschaft heard about my orches- 
tra, became interested, and came to one of 
the rehearsals (I always had a dozen friends 

to listen ); liked it, and asked 

me to play in a concert in a very good small 
hall here. I was so glad to have a debut 
without paying for it, as most foreigners 

here do I loved conducting, 

and got very much excited as I warmed up. 
Menotti's Pastorale and Dance for string 
orchestra and piano made a great hit; the 
audience - all strangers - stamped their 
feet and cried »Bravol', and I had to repeat 
it. He was since asked to let it be played 
on the radio here, and tliat will enable his 

family in Italy to hear it I was 

sorry I Iriad nothing of my own to perform, 
but I»ve.written nothing for small orchestra. 
Anyway, the concert was principally for a 
conducting debut 

Vienna, February 2S, 1954" 



The program for Mr. Barber's "conducting debut" 
consisted of: Corelli's " Christmas " Concerto , 
Haydn's Piano Concerto in G major; Vivaldi's Flute 
Concerto ; Sibelius' " Rakastova "; Menotti's Pasto- 
rale a^ Dance ; and the afore-mentioned aria from 
Monteverdi's Orfeo . The date was February 4, 1954. 
John Bitter was tne flutist. 

"Mr. Barber's advent in the field of conducting", 

78 



OVERTONES 



wrote Anne Holden in The Vienna Herald of February 
16th, "reveals a technique natiirally not yet flaw- 
less, but firmly grounded on creative musicianship. 
The orchestra under his direction, gave smooth per- 
formances thoroughly interpretive of the varying 

musical styles (Gian-Carlo~ Me- 

notti's) inventive versatility and orchestrative 
dexterity are shown by the fact that Sunday night's 
composition was written especially for tills concert 
and in the space of a few days. (Correctly reported, 

as vouched for by Mr . Barber . ) the 

composition shovired a sense of humour, a beautiful 
feeling for engaging rhythm, and a finish of detail." 



-K- 



79 



The First Commencement 



On the afternoon of May 22, 1934, The Curtis In- 
stitute of Music held its first Com;iienceiaent. 

The ceremonies took place in Casirair Hall. The 
Institute conferred the honorary degree of Doctor of 
Music upon Madame Marcella Sembrich, member of the 
faculty from the beginning of the school in 1J24 un- 
til iJiay 1932, and Professor Leopold Godowsk^'-. The 
degree of Bachelor of Music was given to thirty-four 
graduates, v;ho in addition received the Diploma of 
The Curtis Institute, together with forty-four other 
graduates. Speakers were Dr. Thomas Sovereign Gates, 
President of the University of Pennsylvania, and IJir. 
7n.adyslaw Sokolov>ski, Counselor of the Polish Embassy, 
Washington, D. C, the latter substituting for the 
Polish Ambassador, Mr. Stanislaw Patek, who was un- 
able to be present because of illness. 

The stage was decorated with the flags of the 
United States and Poland, and carnations of red and 
white, the colors of the Institute. A piano toward 
the back held the hoods and diplomas, later to be 
presented. 

Promptly at three o'clock the program began, with 
organ music played by Ptobert H. Cato, organist of 
Christ Church, Philadelphia, who studied at the In- 
stitute with the late Dr. Lynnwood Farnam. Mr. Cato 
played the Fugue in E-flat (St. Anne) of Bach, and 
the chorale preludes "Es ist ein ^ lios * ents prungen " 
(Bralxns) , "0 Gott, du frommer Gott " (Karg-Elert) , 
and " Schmiicke dich, o liebe Seel e" (Brahms) . 

At three-fifteen the doors of Casimir Hall svaing 
wide to admit the graduate procession. To Sigfrid 



80 



OVERTONES 



Kaxg-Elert*3 brilliant Triumphal March on the 
chorale " Now Thank We All Our God " , played by l&r 
Cato, the procession of graduates, speakers, and 
officials of the Institute, wearing academic cos- 
tume, advanced across the front of the hall and 
down into the center section where seats had been 
reserved, the speakers and officials proceeding 
to the stage. 

When all had entered and taken their places. 
President Mary Louise Curtis Bok, whose hood bore 
the colors of the University of Pennsylvania, rep- 
resenting the degree of Doctor of Humane Letters 
which she had received the year before, made a brief 
introductory address, and presented the principal 
speaker. Dr. Gates. 

"What a significant day this is in the education- 
al life of our city!". Dr. Gates began. "We are 
celebrating the tenth anniversary of the life of an 
Institute dedicated to its colorful and artistic 
development. The work of those ten years has 
brought rich results, and The Curtis Institute now 
shares with other educational institutions the full 
recognition and significance wliich the efforts in 
its special field have justly earned. 

"The University of which I have the honoi* to be 
president warmly felicitates you upon this event. 
It has watched your upbuilding during this decade " 
with admiration and eagerness. I bring you its 
hearty congratulations, feeling assured that the 
success which earnest effort and sincere endeavor 
attain in the field of education will bring you 
continued success and achievement as the years roll 
along . 

"The story of our origin and yours has one ele- 
ment strikingly in common. It was Benjamin Frank- 
lin to whom we owe our conception. His interest in 



81 



OVERTONES 



the education of the youth of Pennsylvania created 
in his fertile mind the belief that an institution 
to carry forward that work could be established and 
have prosperity, and whatever success we may have 
had during these nearly two hundred years is due in 
large measure to him, 

"In our generation there lived another great man 
of sympathies and interests comparable to those of 
Franklin, and I like to feel that something of his 
spirit and broad sympathy will continue always to 
live in the Institute which was created by his daugh- 
ter Mary Louise Curtis Bok, and which bears his 
name. One thinks of Mr. Curtis' long and useful life; 
of his pre-eminence in the world of affairs. And one 
thinks also of his abounding cheerfulness, of his per- 
sonal sympathy for young men and women, of his eager- 
ness to lend a helping hand to those struggling for 
education; of a life, simple, open hearted and frank, 
yet colored by all of the things that we regard as 
beautiful and worth while. His name, which you bear 
in this splendid institution founded by you. Madam 
President his daughter, will always be a challenge 
for unselfishness and earnest endeavor, and it will 
give the Institute and those who share its benefits 
sometliing of the happiness which his life reflected 
in the hearts of others. 

"How interesting, too, it is that the direction of 
and administration for this inspiring activity falls 
upon the shoulders of a musician. Dr. Hofmann. One 
is proud to pause a moment to admire and comment upon 
his remarkable talent and versatile ability. 

"Franklin and Curtis in the larger sense were lay- 
men who found appreciation in their lives in fields 
which include what we are pleased to call the intan- 
gible things of life. Their durable satisfactions 
came from the fields which seem inclusive of all of 



82 



OVEF:TONES 



our social values. Thus education of the youth of 
America made a strong appeal to each, and in the 
case of Tiilr. Curtis we are thinking for a few mo- 
ments of his love of music which stands crystal- 
ized in the Institute which bears his naiae. 

"There is no doubt in a layman's mind that "his 
appreciative powers in the field of music are def- 
initely limited. We hear his confession every day. 
He will say, 'I find this music very beautiful but 
of course I don't understand it — I know nothing 
about music'. Such a statement is, however, ob- 
viously a contradiction in terms. To call a thing 
beautiful or ugly implies understanding, and the 
layman's real limitation lies not so much in a lack 
of understanding as in his inability to account for 
the workings of his own mind. 

"The curricula of universities abound in courses 
having to do with the appreciation of Art and vol- 
umes have been written by musicians and philosoph- 
ers upon the subject. And yet, as Du Maurier once 
wTote, 'One whose heart is hopelessly impervious 
to the viTitten word, callous to the spoken message, 
can be reached by the organized vibrations of a 
trained larynx, a metal pipe, a reed, a fiddle 
string — by invisible, impalpable, incomprehensi- 
ble little air -waves that beat against a tiny drum 
at the back of one's ears. And these mathematical 
combinations and the laws that govern them have 
existed forever.' 

"Vfe must seek, therefore, for the gift common 
to mortals which involves the appreciation of Music 
in a field which transcends the medium of language. 
It belongs in tliat realiii wherein lie man's spirit- 
ual cravings and takes its place within the kingdom 
of the great trinity of world conte.aplation in 
which Religion, Art and Philosophy abound. Herein 
Music has its true place. Materialistic values 



85 



OVERTONES 



become social values and every effort on the part 
of the individual to influence the lives of men 
carries significance and enables them in turn to 
help those who need guidance in their struggle to 
find themselves. The young artist who is seeking 
through his work to express the idealism which 
lives in his heart becomes conscious that the pur- 
pose of his Art is best accomplished by revealing 
it in a way that will strengthen, guide and improve 
the social standard. He takes his part in the up- 
building of humanity in the way which he has found 
is best suited to the talent with which he has been 
gifted. 

"Those of us who are interested in the develop- 
ment of education in its many fields and the ad- 
vance of knowledge step hy step in the great field 
of the as yet unkonvm are often amazed at the great 
variety of opportunities which are offered the de- 
veloping mind. One we see preparing to spend his 
lifetime in the field of Mathematics — or of His- 
tory, or of Medicine, or of Law — work often upon 
what seems to be the merest detail and yet, if 
solved, perhaps answers forever one part, be it 
ever so small, of the great puzzle of life. Art 
adds color to the whole. It frankly deals with the 
intangibles. It accepts the field of idealism and 
interprets this or that attained result in the terms 
of social values, and the layman acquires the com- 
poser's message just as he does the varied emotions 
of life coming to iriim in other ways. Unable to 
analyze tlie medium, he does not care to parse or 
explore the teclmique, but to gain the influence and 
to appreciate its significance just as he does with 
respect to those other impulses from the world of 
the ideal which in a way somehow unkno?/n to himself 
he regards in the terms of experience. 

"Those of you who are graduating today are em- 
barking upon a great adventure. You have dedicated 



84 



OVETITONES 



your lives toward the pursuit of an ideal. May 
you have a full measure of happiness in your work, 
and may that happiness in large measure reflect as 
years go on the joy you will give to others." 

At the conclusion of Dr. Gates ^ address, the 
national anthem of Poland was sung by Irra Petina 
and Paceli Diamond, with organ accompaniment by 
Mr. Cato. The English version of Edwin Markham 
was used: 

"Poland* 3 glory is not vanished 
Yn'hile her sons remain , 
And her flag that once was banished 
Shall return again. 

"Poland's wrongs shall all be righted. 
Youth of Poland call. 
Freedom's torch we bring uplighted. 
Spartan breasts our wall. 

"Poland's sons again will muster 
And drive out the foe, 
Vifill bring back her ancient lustre. 
Bring her joy for woe. 

"March, march, Dombrov/skil 
Hark the people come with cheering. 
Poland shall again be free — 

Victory is nearing." 

The President then introduced Mr. Sokolowski, who 
made tlrie following address: 

"The Ambassador of Poland was to have been present 
at today's ceremony. Because of illness he was com- 
pelled — most reluctantly I know — to cancel his 
trip to Philadelphia. He asked me to express to you 
his deep regret and disappointment at his inability 
to be present this afternoon. 



85 



OVERTONES 



"It is a scairce of gratification to me to be 
able to take part in today's ceremony. I have 
heard so much and so often about The Curtis Inst- 
tute of Music that it is indeed a pleasure to come 
in touch with it personally and to experience the 
atmosphere of art and learning for which it is 
justly famous. 

"In Poland The Curtis Institute of Music has for 
long been known as a prime institution of musical 
knowledge. Through the hospitality extended by it 
to noted musicians of Polish origin, such as Dr. 
Hofraann, Madame Sembrich-Kochanska, Leopold Stokov/- 
ski, Emil MljTiarski, Artur Rodainski, Miecayslaw 
Miinz and others, it has established close links 
with Poland. 

"Some two or three years ago it was n^r privilege 
to attend a little ceremony during which the dis- 
tinguished President of your Institute, Mrs. Mary 
Louise Curtis Bok, was decorated on behalf of the 
Polish Government with the Order of Polonia Resti- 
tuta for her meritorious work in promoting closer 
Polish-American friendship. 

"Today we are gathered here in order to honor, 
among others, a Polish woman, whose achievements 
in the sphere of Art have won for her universal 
acclaim. Her accomplisriments as a great singer 
are too well known to you to bear repetition. I 
am certain that I voice the sentiments of my coun- 
trymen if I say that we are all proud of the honor 
which you have seen fit to bestow on a distinguished 
Polish v;oman. 

"These two ceremonies of which I have just spo- 
ken form the visible symbols of the esteem and sym- 
pathy which we hold for each other. I hope that 
in the future, by acts of this kind, we will still 
further strengthem the ties that unite the Art of 



86 



OVERTONES 



Poland with the Art of America. 

"I know that the country which I represent here 
today is not a stranger to you. In the world of 
music, the roster of honor is richly endowed with 
Polish names. Chopin, Paderewski, Moniuszko, 
Hofmann, Sembrich-Kochanska — are names as famil- 
iar to you, and maybe as dear to you, as they are 
to me. The respect and not infrequently the admi- 
ration felt for them in America forms one of the 
links in the traditional friendship that exists so 
happily between our two countries. 

"Because of such comparative abundance of talent, 
Poland has often been referred to as a nation of 
artists. We have been thought of in terms of Mu- 
sic, of our Art and of our Literature. Not infre- 
quently, too, you must have heard the opinion that 
Poles were dreamers, and had an * artistic tempera- 
ment*, which not always, and not necessarily, im- 
plied a compliment. 

"Since the annexation of Poland by her more 
powerful neighbors at the end of the eighteenth 
century, we have had a sad and romantic history. 
Poland has been striving to regain her national 
independence and to the outside world she expressed 
her longing in her Art. Throughout the nineteenth 
century, when other nations were fortunate enough 
to be able to express their national vigor in in- 
dustrial developments, in coromerce, in poT/erful 
armies, we had but the musician's instrument, the 
poet's pen, and the painter's canvas with which to 
present our own. 

"But, ladies and gentlemen, today these things 
are of the past. No longer is Art the only ex- 
pression of our national ambitions. Though handi- 
capped by years of forced inactivity, today v/e are 
keeping pace with nations who were more fortunate 



87 



OVERTONES 



than o\ir selves. We build modern harbors where fish- 
ing villages had stood; ocean ships are flying our 
flag. Polish merchandise traverses the crowded trade 
routes of the world. In the work of promoting inter- 
national peace Poland has become the leading country 
in the world. 

"Our Art no longer represents our dreams alone. 
It flourishes side by side vfith our normal national 
activities. It testifies to the will and persever- 
ance with Y«hich we apply ourselves to the task of 
reconstruction and to the realities which we have to 
face. 

"In the relations between nations. Music, Litera- 
ture and Art have always played an important part; 
for the fostering of peace, no means is more effec- 
tive, no method more expressive. I am convinced that 
in the great task of promoting international good- 
will, musicians, writers and poets can succeed where 
statesmen have failed. In their sphere of human ac- 
tivity hatreds and prejudices are unknown. They are 
the true pioneers of international amity and through 
them misunderstandings and distrusts give way to con- 
fidence and friendship. 

"It is in this spirit that I bring to you the 
greetings of a country which has always known that 
in America she had a ?^arm and tried friend. To 
foster and deepen such understanding and friendship, 
not only between our two nations but between all 
nations, is a task which we have to face today, and 
which, I hope, we will accomplish." 

The real "business" of the day then was in order. 
Presented by the Director, the graduates, one by one, 
mounted the stage as their names v/ere read, received 
their diplomas and the hoods distinctive of the 
Bachelor of Music degree from The Curtis Institute 
of Music, and returned to their places. 



88 



OVERTONES 



After the awarding of diplomas and the confer- 
ring of degrees in course, the Director presented 
the candidates for the honorary degree of Doctor 
of Music. 

As I^dame Sembrich, who because of her deli- 
cate health had not participated until nov/ in the 
ceremonies, entered the stage on the arm of Dr. Hof- 
mann, the audience, graduates and official group 
rose as one body and with prolonged applause accord- 
ded her a warm and affectionate welcome. 

"When you v;ere a young girl", said Dr. Hofmann 
addressing Madame Sembrich, "you delighted your 
listeners as a pianist and violinist. As a young 
woman you astounded the world with your magnificent 
art of singing. How often I have sat entranced 
listening to your golden voice, your interpretation 
noble and pure, the result of a musical culture and 
gift of the rarest quality! And nov/ that you no 
longer sing in public you are spreading the gospel 
of your supreme art as a great teacher. The Curtis 
Institute, and the music lovers of Philadelphia, 
are grateful to you that besides your extensive 
classes in New York you devoted eight years at our 
Institute establishing a great tradition in the art 
of singing. Therefore, and in recognition of your 
unique achievements in the past as well as in the 
present, I am proud and happy to present you for 
the degree of Doctor of Ivhisic." 

The President's affection for the great singer 
and teacher was evidenced when, having handed her 
the diploma, she stooped and kissed Madame Sembrich' s 
hand and then her cheek, and when the Director him- 
self had placed the hood of Doctor of Music over 
Madame *s head he also placed a kiss on her cheek. 
Mr. Sokolowski bent and kissed his compatriot's hand, 
and Dr. Gates added his bow, all to vociferous 
applause. 



89 



OVERTONES 



Dr, Hofraann then presented Professor Godowsky. 

"As a child you delighted music lovers V7ith 
your remarkable piano playing. Contraiy to mani- 
fold instances, your art grew and matured with 
years and the name of Leopold Godovjsky became 
famous all over the world. Honored and admired 
not only by the laymen but by the most exacting 
contemporary musicians, you stand on lofty heights 
not only as a pianist but as a composer, musical 
scientist and educator. During the twenty-five 
years you have held master classes here and abroad 
you have developed a great number of prominent 
pianists and musicians and even those who have 
not had the privilege of studying with you — and 
I am one of them — have learned and benefited by 
your great art and musiciansliip. Because of your 
distinguished services to music and musicians I 
take great pleasure in presenting you for the 
degree of Doctor of Music." 

The President shook hands warmly Y;ith Professor 
Godowsky and gave him the diploma, and Dr. Hofmann 
again personally bestowed the hood, while the 
audience applauded vigorously. 

As the music of " The Star Spangled Banner " came 
from the organ and the entire assemblage rose, all 
joined heartily in singing the anthem. One voice 
coming from amongst the audience led all the rest, 
the voice of Madame Louise Homer. 

Tills officially concluded the ceremonies, and 
the graduate recession filed out to the Finale 
from Cesar Franck*s " Grande Piece S:^phonique " 
played by lltr. Cato at the organ. 

An informal reception and tea followed in the 
Common Room, after which there was dancing in the 
cleai^ed Casimir Hall. 



90 



OVERTONES 



A complete list of the graduates follows. 

■^DIPLOMAS OF THE CURTIS INSTITUTE 
Voice 

Selma Claire Amansky 

Rose Elizabeth Barapton - Jjn absentia 

Elsie Irene Beamer 

Natalie Bodanskaya 

Mary Margaret Codd 

Agnes Davis 

Benjamin Patterson de Loache, Jr. 

Paceli Diamond 

Ruth Elizabeth Gordon 

Daniel Laurence Healy, Jr. 

Henriette Horle - in absentia 

Helen Elizabeth Jepson 

Albert Mahler - in absentia 

Elsa Ella Meiskey 

Conrad Walter Thibault - in absentia 

Walter Eugene Vassar 

Piano 

Lilian Lia Batkin 

Jorge Leopoldo Bolet 

Rosita Escalona 

Florence Fraser 

Martha Louise Halbwachs 

William Henry Harms, Jr. 

Jean-?i5arie Robinault - in absentia 



■J^Every graduate, vi^hether receiving a degree or not, 
received the Diploma of The Curtis Institute. 



91 



OVERTONES 



Violin 

James Simeon Bloom 

Iso Briselli 

Abe Aaron Burg 

Philip Frank - in absentia 

Paul Gershman - in absentia 

Celia GcMnberg 

Carmela Ippolito - in absentia 

Lily Mat is on - in absentia 

George Pepper - in absentia 

Ethel Stark 

Viola 

Gabriel Joseph Braverman - in absentia 

Violoncello 

Katherine Lux Conant - in absentia 
Frank Miller 

Harp 

Alice Ghalifoux 
Victoria Marcella Murdock 
Edna Megan Phillips 
Reva Reatha 

Organ 

Lawrence Clarke Apgar 
Robert Hamilton Cato 
Alexander McCurdy, Jr. 
Paul Signor Robinson 
Carl Weinrich - in absentia 

Accompanying 

Sarah Abbett Lewis 
Elizabeth Balee V^estmoreland 



92 



OVERTONE-S 



Opera 

Anna Marie Budde 

Conducting 

Boris Goldovsky 

Double Bass 

Oscar Gravenor Zimmerman 

Flute 

Edna Ardelle Hookins 

Emil Bernard Opava - in absentia 

Kenton Frederick Terry - in absentia 

Clarinet 
Leon Lester 

French Horn 
Sune Johnson 

Trumpet 
Leopold Podolsky Fodder - ix absentia 

Trombone 
Gerald H, Woerner - iji absentia 

Tuba 
Ross Milan Wyre 



95 



OVERTONES 



Composition 

Samuel Osmond Barber 

Edith Evans Braun 

Roland Jacobi Leich - in absentia 

Gian-Carlo Menotti - in absentia 

Harlow Jobn Mills - in absenti a 

Chamber Music 

Jennie Robinor 
Benjamin Sharlip 

Piano and Accompanying; 

Florence Frantz 

Yvonne Krinsky 

Freda Pastor 

Theodore Price Walstrum 

Marga Hermine Wiistner - in absentia 

Violin and Accompanying 

Helen Hall 

Violin and Chamber Music 

Jascha Brodsky 
Gama Gilbert 

Viola and Chamber Music 

Max At on off 

Violoncello and Chamber i^usic 

Orlando Timothy Cole 



94 



OVERTONES 



Viola and Conducting 
Louis Vyner 

Piajio and Compos iticaa 
Jeanne Behrend 

Piano . Accompanying and Conducting 
Sylvan Levin 

DEGREES IN COURSE 

Bachelor of Music — jji Voice 

Seliaa Claire Amansky 

Rose Elizabeth Baiapton - j^ absentia 

Elsie Irene B earner 

Agnes Davis 

Benjamin Patterson de Loache, Jr. 

Paceli Diamond 

Ruth Elizabeth Gordon 

Daniel Laurence Healy, Jr. 

Albert Mahler - in absentia 

Helen Elizabeth Jepson 

Walter Eugene Vassar 

Bachelor of Music — to, Piano 

Martha Louise Halbwachs 
William Henry Har^s, Jr. 
Jean-i'vlarie Robinault - in absentia 



95 



OVERTONES 



Bachelor of Music — xn Harp 

Alice Chalifoux 

Victoria Marcella Murdock 

Reva Reatha 

Bachelor of Music — in Organ 

Lawrence Clarke Apgar 
Paul Signor Robinson 

Bachelor of Music — in Accompanying 

Sarah Abbett Lewis 
Elizabeth Balee Westmoreland 

Bachelor of Music — in Opera 

Anna Marie Budde 

Bachelor of lytusic — in French Horn 
Suae Johnson 

Bachel or of Music — in Composition 

Samuel Osmond Barber 

Edith Evans Braun 

Roland Jacob i Leich - in absentia 

Bachelor of Music — in Chamber Music 

Jennie Robinor 
Benjaiain Sharlip 

Bachelor of Music — Jji Piano and Accompanying 

Florence Frantz 
Freda Pastor 



96 



OVERTONES 

Bachelor of Music — in Violin and Accompanying 

Helen Hall 

Bachelor of Music — in Violin and Chamber Music 

Jascha Brodsky 
Gama Gilbert 

Bachelor of Music 
in Violoncello and Chamber Music 

Orlando Timothy Cole 



The Marshals for the Commencement were Mr. Wil- 
helm von Wymetal, Jr., retiring member of the facul- 
ty, and four student assistants: Ruth Carirjart, Irra 
Petina, Leonard Treash and Eugene Loewenthal. 






97 



Index 



Art of Musical Russia, Inc., The 

(Russian opera) 47-50 

Bampton, Rose 

concert activities 45 , 46 

Metropolitan Opera Company 44 , 45 

Robin Hood Dell \ 9 

Barber, Sam 

carillon music , . , 15 

European activities 74-79 

overture " School for Scandal " performed . . 10 

violonce3J.o Sonata performed 69 

vocal recital 53, 54 

Behrend, Jeanne 

Foyer recital .....,..• 53 

Philadelphia Orchestra 55 

songs performed 69 

Bok, Mrs. - honorary degree, Williams College .. 5 

Building closed 14 

Canada, graduates' appearances in 50; 70, 71 

Carillon music ("students'") 15 

Casimir Quartet 66 



98 



OVERTONES 



Cato, Rotert H. - organist, Comiaencement 

Exercises 80, 8I5 85; 90 

Chalif oiix, Alice - recital 60 

Cherkassky, Shura - Minneapolis Orchestra .. 56, 57 

Christmas Party ••• •••• ^^ 

Cole, Orlando - assisting artist 60 

Comittencement 80-97 

Concert Course • 50-53 

Curtis, Cyrus Herjnan Kotzsciimar 

In Memoriam 4 

Memorial Concerts (Camden) 6, 7 

tribute to (student radio concerts) .... 34, 35 

Curtis String Quartet 

"Historical Series" 63, 64 

New York debut 65 

own series • "^ 

9 
summer • ^ 

tours ^^> ^^ 

White House ••• ^^9 ^^ 

Curtis Symphony Orchestra 

Longwood Gardens • • ^^ 

Philadelphia Forum 29 

radio 34, 35; 36; 38; 42; 43 

Y.W.C.A. Convention 29 

Davis, Agnes 

miscellaneous appearances 55 ; 57; 58 

Philadelphia Orchestra 56 

recording '^ 

Robin Hood Dell 11 



99 



OVERTONES 



deLoache, Benjamin 

miscellaneous appearances 54; 58 

Philadelphia Orchestra • • • • 55 

recital (Philadelphia) 54 

deMachula, Tibor - European activities 74 

Director (see Hofmann, Dr.) 

Europe, graduates * activities in 71-79 

Eustis, Edwina 

Russian opera • 47-50 

summer ..•••.. •• 10 j llJ l^* -^'^ 

Faculty 

Casimir Hall recitals • 18 

other concert activities 18-22 

Finn, Caesar - journalistic debut 15 

Frank, Philip - Town Hall debut 52 

Frantz, Florence - Philadelphia Orchestra 55 

Gates, Dr. Thomas Sovereign - address. 

Commencement Exercises 81-85 

Goberman, Max - recital 55 

Godowsky, Leopold 

citation ^0 

honorary degree from Curtis Institute 80; 90 

Goldovsky, Boris 

summer o 

trio 19 



100 



OVERTONES 



Graduates 1934 

degrees in course • ••• • 95-97 

diplomas ••••••••• • 91-95 

Halbwachs, Martha - recitals 54 

Healy, Daniel 

miscellaneous appearances • 57 

recital • .,•••..•....•..... 54 

Hofiflann, Josef 

concert tour ••• • 18 

Ippolito, Carmela - Barbizon recital 55 

Jepson, Helen 

Montreal opera •.••.... •• 50 

summer »..••• •••.... 12 

Kaufman, Harry 

Musical Art Quartet 20 

Robin Hood Dell 8 

Kaufman, SchLma - book 69 

Kendrick, Virginia - recital 54 

Levin, Sylvan 

Stokowski mentions 17 

Philadelphia Orchestra 55 

winter activities 20-22 

Levine, Joseph - appearance 59 

Loewenthal, Eugene - Philadelphia Orchestra .... 56 

Luboshutz, Lea 

summer • • • 6 

trio -1^ 



101 



OVERTONES 



McCallip, Emily 16 

McCurdy, Alexander - misc- 
ellaneous activities 58; 60 , 61 

Menotti, Gian-Carlo - carillon music 15 

Metropolitan Opera Company 44 

Meyer, Felix - Little Symphony Orchestra 67 

Mills, Harlow John - prize 69 

Mogill, Leonard - Musical Fund Quartet 63, 64 

Moss, Phyllis - appearance 59 

Museum Concerts 26-29 

Noyes, Frank - orchestra conductor 68 

Opera, "students*" appearances in 

Athens, Georgia ..•••... 12 

Metropolitan 44 

Montreal ^^ 

Philadelphia Operatic Society 51 

Robin Hood Dell 10-1^ 

Russian 47-50 

San Carlo 1^ 

scenes ^^* ^^ 

Orchestras, "student" members of 68 

Petina, Irra 

Commencement • ^^5 ^' 

Metropolitan Opera Company 46 

summer (debut in major role - "Carmen", etc.) 11 



102 



OVERTONES 

Philadelphia Operatic Society 51 

Philadelphia Orchestra 55, 56 

Polish National Anthem 85 

President (see Bok, Mrs.) 

Rachlin, Ezra 

New York Orchestra 66 

Philadelphia Orchestra • 56 

Radio - student series 34-43 

Radio-Victrola rooms closed 14 

Reed, ihpca - Lester Ensemble member 59 

Reiner, Fritz (see also student radio series) 

summer •• 8 

winter concerts •••••• EO 

Reisenberg, Nadia - Town Hall recitals 55 

Robin Hood Dell 9-lE 

Robinault, Jean-Marie - concertizing 

in Europe 71-74 

Ros, Margot 

Steinway Hall 53 

Washington 59 

Rota, Nino - carillon music 15 



103 



OVERTONES 



Saidenburg, Theodore 8 

Salmond, Felix 

miscellaneous activities • 19 

summer • 6 

trio 19 

Salzedo, Carlos 

concert tour 19 

recital in Casimir Hall 18 

summer 7, 8 

Sapertan, David - summer 9 

Sembrich, Marcella 

citation 89 

honorary degree from Curtis Institute ... 80; 89 

Shapiro, Eudice - appearance 59 

Shumsky, Oskar - Town Hall debut 5Z 

Slatkin, Felix, recital 55 

Sokolowski, T/ladyslaw - address. 

Commencement Exercises 85-88 

Spof f ord , Grace 16 

Stark, Ethel - concerts 70-71 

Stokowski, Leopold - statement by 17 

Stringart Quartet 66, 67 

Student activities 

Casimir Hall 25-26 



104 



OVERTONES 



Student activities, continued 

Concert Course 30-35 

Curtis Symphony Orchestra 29-50 

Graphic Sketch Club 33 

Museum Concerts 26-29 

opera scenes 53 , 54 

radio 54-45 

Studies disccmtinued •...••• 14 

Summer of 1933 , The 5 

Teaching activities (graduate-student) 70 

Thibault, Conrad - recital 54 

Treash, Leonard - appearance ••• 59 

van Eraden, Harriet - recital in Casimir Hall .... 18 

Vveinrich, Carl - recitals; position 62 

White House, concert in • •••.....51, 52 

Zimbalist, Efrem 

concert tour 19 

recital in Casimir Hall 18 

summer • 8 

Zuydlioek, Paul - Cyrus Curtis Organ 

Scholarship; European activities 71 



105 




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